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MANUAL 



ELOCUTION 



County Normal Institutes, 



IIKADKI) ANlHUM.Mii.N SCHOOLS. 



James T. Bradley and Maurice Clabaugh. 

SEDAN. KANSA 






JBRARY OF CONGRESS, 

Chap. 

Shelf ___-- 



UNITED STATES OF AMERICA. 



MANUAL 



OF 



ELOCUTION 



FOR USE IN 



County Normal Institutes, 



fr 



GRADED AND COMMON SCHOOLS. 



/ 
\/ PREPARED BY 



James T. Bradley and Maurice Clabaugm, 

SEDAN, KANSAS. 



7 

SEDAN, KANSAS: 

The Chautauqua Journal Print. 

i 88^. 



.37 



Entered according to act of Congress, in the year 1883, 

By James T. Bradley and Maurice Clabaugh, 

in the office of the Librarian of Congress, at Washington" 



\ 



\ 



PREFACE 



We issue the Manual of Elocution in order to supply common and graded 
school teachers with something complete, concise and cheap upon the sub- 
ject. It furnishes an easy, progressive and natural introduction to the 
science and art of one of the most enchanting and entertaining accomplish- 
ments. 

The subject is treated in twenty lessons, containing such subject matter 
and arranged in such manner as to not only render a knowledge of Elocution 
a pleasure and pastime to acquire, but to suggest an effective method of 
teaching it. 

Our drills are simple and appropriate for examples and indispensible for 
illustrating the different parts of the subject; our outline is logical and 
complete as far as this treatise extends, and cannot fail to present the subject 
in a tangible light ; our selections for practice are at once interesting to read 
and study, and adapted to an application of the principles taught. 

We gratefully acknowledge our indebtedness to Mr. Townsend, whose 
inimitable Seventy Lessons in Civil Government suggested a distribution of 
our outline throughout the work; to Messrs. Hamill and Shoemaker,- whose 
books we often consulted, and to Mr. Bacon for his valuable suggestions on 
Gesture. 



Twenty Lessons in Elocution. 



LESSON I, 



I. Elocution is the natural expression of thought by means 
of speech and gesture. 

By Natural is meant our highest or Gocl-given nature, and implies the 
highest attainment to which the individual is capable. By Expression is 
meant a conveyance, or giving out of impressions. By Thought is meant 
the product of mental operations, and embraces concepts or ideas, passion 
or sentiment. By Speech is meant every intelligent use of the organs of 
utterance, whether articulate or inarticulate, whispered or vocal. By Gesture 
is meant attitude, movements of the limbs, and facial expression. 

~ tu u- 4. ( i- To understand what is read. 

2. Three objects ^ . - , . , 

f Fl t' \ I o give proper expression to what is read. 

( 3- To give mental and physical culture. 

It is desirable to Understand what is read, in order— First, to get a clear 
idea of the meaning to be conveyed by the author : and, Second, to extend 
the knowledge of the student. In order to give proper Expression to what 
is read, it is necessary for the student : 

First. To pronounce and define the words. 

Second. To explain the meaning of the language. 

'I hird. To determine what is beautiful and good in sentiment. 

Fourth. To give reasons lor the manner of delivery. 

It is not absolutely necessary to understand what is read to have a good 
delivery, for by imitation we may reach a good degree of perfection on a 
particular selection, but without understanding there will be no increase of 
knowledge, and we will never be able to read other selections well than the 
ones learned by imitation; therefore, the practice of teaching by imitation is 
to be condemned, for the reason that it destroys the individuality of the 
pupil by depriving him of Mental Culture, and substituting the mechanical 
for the natural. 

By Mental Culture is meant the acquisition of knowledge, cultivation of 
taste, and training of judgment; and by Physical Culture is meant such a 
development of the vocal organs and movements of the body as will give 
ease and grace to delivery. 



Principles. \ \ fP^ 

r ( 2. Gesture. 



TWENTY LESSONS IN ELOCUTION. 



4. The Principles of Elocution embrace Speech and Gesture. 

By Principles is meant a ground of action, or fundamental truth. It is 
evident that a fundamental truth of Elocution is that the art consists of 
Speech and Gesture; for by Speech is given the proper Utterance, Articu- 
lation and Modulation ; and by Gesture is given the proper Attitude, Move- 
ments of Limbs, and Facial Expression. 

1. Commit the definition of Elocution. 

2. Read carefully the explanation of the definition. 

3. Commit three objects of Elocution. 

4. Read carefully the explanation of the objects. 

5. Commit the two divisions of the Principles and learn the Outline. 

6. Read carefully the explanation of the Principles. 



QUESTIONS. 

1. What is Elocution? 

2. What are the three objects of Elocution? 

3. Place the outline of divisions on the blackboard. 

4. What are the two divisions of the Principles? 



LESSON II. 



( 1. Articulation. 

5. Speech. < 2. Utterance. 

(3. Modulation. 

6. Speech is the means of communicating thought by the 
vocal organs. 

The nature of man requires that he should have an extensive language. 
The strongest evidence of this is that he has faculties, which enable him to 
acquire a knowledge of language, and speech, which enables him to use it. 
The wisdom of the ages might search all departments of nature for a more 
perfect and sufficient means of exchanging thought than by Speech, but the 
search would be vain. Its value and efficiency consists in its double rela- 
tion — to self and to others. The mind would become a Dead Sea, with no 
outlet, if it were not for language ; its thoughts would become stagnant and 
self-devouring if it were not for Speech. 

It is very essential that ones' vocabulary be as extensive as the utmost 
demands of his avocation require; that his vocal organs be thoroughly 
cultured, so that his Speech may have that degree of beauty and power of 
which it is capable. 



TWENTY LESSONS TN ELOCUTION. 



7. The three elements of Speech are Articulation, Utterance 
and Modulation. 

( 1. Vocal Sounds. 

8. Articulation. < 2. Breath Sounds. 

( 2. Union Sounds. 

9. Articulation is the distinct utterance of Elementary- 
Sounds. 

By distinct utterance is meant such pure, clear, round tones as will give- 
language its full beauty end power. 

10. The three classes of Articulate Sounds are Vocal, Breath 
and Union. 

11. The Vocal Sounds are those which are unobstructed by 
the organs of utterance, and consist of tone. 

12. Breath Sounds are those which consist of mere emissions 
of breath. 

13. Union Sounds are those which consist of breath and 
tone, modified by the organs. 

1. Commit the definition of Speech. 

2. Read carefully the explanation of Speech. 

3. Commit the three elements of Speech, and learn the outline. 
4 Commit the definition of Articulation, and learn the outline. 

5. Read carefully what is said in explanation of the Definition of Articu- 
lation. 

6. Commit the three classes of Articulate Sounds. 

7. Commit the definition for Vocal, Breath and Union Sounds. 

8. Practice on the following exercises in Breathing and Articulation : 

( (Stand erect. Take full and deep inhalntions. Exhale slowly. 

I Slowly. \ 
Rro.ithina J I Chest breathing. Abdominal breathing. Alternate. 

\ Stand erect. Take full and deep inhalations and exhalations. 



Forcibly..-, 

( Pant on the sound of H. Puff forcibly and quickly. 



Cab'n for cab-m. 
Barr'l for bar-r<?l. 
Ev'ry for ev-<?-ry. 

Hist-ry for his-t<?-ry. 
Par-tic'lar for par-tic-«-lar. 
Prince for prints. 



Wil-ler for wil-loz<y. 

Chil-drin for chil-dnm. 
Per-ta-ter for po-ta-to. 
Wind-er for win-doz^. • 

Gov-er-ment for gov-erw-ment. 
Prod-z*.r for prod-urts. 



Let us hope instead of Let us soap. 

He had two small eggs " " He had two small legs. 

Bring some ice cream " " Bring some I scream. 

She told her age " She told her rage. 

Science and art " Science an' dart. 



TWENTY LESSOXS IN ELOCUTION 



She sells sea shells. 

She shuns sunshine ; do you shun sunshine? 

A big black bug bit a big black bear. 

He adds fourths, fifths, sixths, sevenths, eighths, ninths and tenths with 
skill. 

Masses of immense magnitude move majestically through the vast empire 
of the solar system. 

QUESTIONS. 

5. Place the outline of Speech on the blackboard. 

6. What is Speech ? 

7. What are the three elements of Speech? 

8. Place the outline of Articulation on the blackboard. 

9. What is Articulation? 

10. What are the three classes of Articulate Sounds. 

11. What are Vocal Sounds? 

12. What are Breath Sounds? 

13. What are Union Sounds? 



LESSON III. 

TT ,, ( Form. 

14. Utterance, j QuaUty 

15. Utterance is the act of producing speech. 

16. The divisions of Utterance are Form and Quality. 

i Effusive. 

17. Form. •< Expulsive. 

( Explosive. 

1 8. Form is the manner in which the sound issues from the 
vocal organs. 

19. The three classes of Form are Effusive, Expulsive and 
Explosive. 

20. The Effusive Form is that in which the sound issues forth 
in a smooth, gentle manner, without abruptness. 

The Effusive Form is naturally adapted to expressions of pathos, rever- 
ence, awe, solemnity, devotion and adoration. The sighing of the wind, 
the distant rolling of the thunder, the ceaseless moaning of the ocean, are 
all in the Effusive. The elevating and ennobling aspirations and sentiments 
of the soul are expressed in the Effusive Form. 

1. Learn the outline of Utterance. 

2. Commit the definition of Utterance. 

3. Learn tne divisions of Utterance. 



TWEKTY LESSOXS W ELOCUTION. 



4. Learn the outline of Form. 

5. Commit the definition of Form. 

6. Learn the three classes of Form. 

7. Commit the definition of Effusive Form. 

8. Read carefully the explanation of Effusive Form. 

9. Drill on the Effusive Form with the following examples: 

f "O, that I had the wings of a dove that I might fly away and be at rest. 
Effusive ' " Ro * 1 on > tnou ever deep and dark blue ocean, roll." 

J "O, thou Eternal one! whose presence bright all space doth occupy.'" 
1 "The curfew tolls the knell of parting day." 

QUESTIONS. 

14. Place the^utline of Utterance on the blackboard. 

15. What is Utterance ? 

16. What are the divisions of Utterance ? 

17. Place the outline of Form on the blackboard. 
.18. What is Form ? 

19. What are the classes of Form ? 

20. What is Effusive Form? 



LESSON IV. 



21. The Expulsive Form is that in which the voice issues 
forth in a forcible manner, with more or less abruptness. 

This Form is used in the various kinds of public address, which are 
delivered with force and emphasis. It is used by the lawyer when advocat- 
ing his cause, by the legislator when addressing the assembly, by the 
•lecturer on the rostrum, and by the politician on the platform. 

1. Commit the definition of Expulsive Form. 

2. Learn what expressions are naturally adapted to the Expulsive Form. 

3. Read carefully the explanation of of the Expulsive Form. 

4. Review the drill on Effusive Form> 

5. Drill on the Expulsive Form with the following examples: 

f "There is her history, the world knows it by heart." 
ExDulsive ' "^ nree millions of people armed in the holy cause of liberty." 
p } "Let no man dare, when I am dead, to charge me with dishonor.'' 

[ "O, I have passed a miserable night, so full of fearful dreams." 

QUESTIONS. 
31. What is the Expulsive Form? 



I O 7 I CENT) ' LESSONS IN ELOCUTION. 



LESSON V. 
22. The Explosive Form is that in which the voice issues forth 
instantaneously. 

The voice naturally assumes this form in vocal response to sudden impul- 
ses of the mind. Abrupt outbreaks of passion and sentiment are expressed 
in the Explosive Form. The quick crack of the rifle, the startling crash ot 
the thunderbolt, the passionate outburst of laughter, are all examples of 
this form. 

i. Commit the definition of Explosive Form. 

2. Learn what expressions are adapted to the Explosive Form. 

3. Read carefully what is said in explanation of the Explosive Form. 

4. Review the drills on Effusive and Expulsive Forms. 

5. Drill on Explosive Form with the following examples: 

/ f - 'Fire! Fire! Put out the fire ! " 

P , . ! "Arm! arm! it is — it is the cannons opening roar.'" 
cxpiosn e -. „ Strike , tiU the last armed foe expires ! " 

[ "Charge! Chester, charge ! On! Stanley, on!" 

QUESTIONS. 
22. What is the Explosive Form? 



LESSON VL 

1. Pure. 

2. Orotund. 

3. Aspirate. 

23. Quality. \ 4. Pectoral. 

5. Guttural. 

6. Nasal. 

7. Falsetto. 

24. Quality is the kind of tone. 

25. There are seven kinds of tone: Pure, Orotund, Aspirate, 
Pectoral, Guttural, Nasal and Falsetto. 

26. Pure Quality is the simplest use of the vocal organs. 

It is suited to language of plain description, ordinary conversation and 
simple narrative. 

27. Orotund Quality is the Pure Quality enlarged and deep- 
ened. 

It is suited to expressions of reverence, awe, adoration and other varietie* 
of sublime thought, 



TWENTY LESSONS IN ELOCUTION I I 



i. Learn the outline of Quality, 

2. Commit the definition of Quality. 

3. Learn the classes of Quality. 

4. Commit the definition of Pure Quality. 

5. Commit the definition of Orotund Quality. 

6. Learn to what expressions each are adapted. 

7 Drill on Pure and Orotund Quality with the following examples: 
, , • ' Pure— "The day is cold, and dark, and dreary." 

•• 1 Chotund— "Thou too, sail on, oh! ship of state, sail on." 
g . . i Pure — "I said an elder soldier, not a better." 

p 1 v j () rotunc [ — <<j t j s j n va j n sir, to extenuate the matter 
T£. , ■ j Pure— FO! PO! They come! they come! 
"' ' ve 1 Orotund— Rouse ye, Romans ! rouse ye, slaves ' 

QUESTIONS. 
23. Place the outline of Quality on the blackboard. 
22. What is Quality? 

25 What are the classes of Quality ? 

26 What is Pure Quality? 

27. What is Orotund Quality? 



LESSON VII 

28. Aspirate Quality is that in which the tone is not vocalized 

It is suited to expressions of fear, caution, secresy, and some forms of 
anger and tender emotions. The whisper is the perfection of the Aspirate 
Quality. 

29. Pectoral Quality is that in which the tone is produced 
below the natural compass of the voice, and seems 10 issue 
from the chest. 

It is suited to expressions of profound awe, despair, malevolence and 
impersonations of the supernatural and ghostly. 

1. Commit the definition ot Aspirate Quality. 

2. Commit the definition of Pectoral Quality. 

3 Learn to what expressions each is adapted. 

4 Review the drill on Pure and Orotund Quality. 

5. Drill on Aspirate and Pectoral Quality with the following examples: 

r-.rr • < Aspirate "Tread softlv: bow thy head— in reverent silence bow.'' 

Ettusive.., j Pectoral __« T am t h e Grave." 

( Aspirate— "Boys, be still There's some bad news from Granger's 
Expulsive^ folks." 

(Pectoral — "List! list! oh list ! if ever thou did'st thy dear fatherlove." 
E -nlosive ' As l" rate — "Buthush! hark! a deep sound strikes like a rising knell'" 

( Pectoral — "Hell hath no greater torments ior the accursed." 

QUESTIONS. 

28. What is Aspirate Quality ? 

29. What is Pectoral Quality' 3 



TWENTY LESSONS IN ELOCUTION. 



LESSON VIII. 

30. The Guttural Quality is that in which the tone is pro- 
duced in the throat. 

It is suited to expressions of dislike, ill-humor, hatred and contempt. 

31. Nasal Quality is that in which the tone is forced through 
the nasal passages. 

It is suited to expressions of mimicry and burlesque. 

32. Falsetto Quality is that in which the tone is produced 
above the natural compass of the voice. 

It is also suited to expressions of mimicry and burlesque, when the speaker 
impersonates children and high female voices. 

1. Commit the definition of Guttural Quality. 

2. Commit the definition of Nasal Quality. 

3. Commit the definition of Falsetto Quality. 

4. Learn to what expressions each is adapted. 

5. Review the drills of Pure, Orotund, Aspirate, and Pectoral Qualities. 

6. Drill on Guttural, Nasal and Falsetto Qualities with the following ex- 
amples: 

r Guttural — " Oh I I could curse him too I " 
Effusive... \ Nasal — " The birds can fl> and why can't I? " 

( Falsetto — Now, Caudle, dear I What a man you are I 

f Guttural — "Tell me I hate the bowl ? Hate is a feeble word." 

Fxnnlsive > Na=va1 — i The >' mi S ht ' a ' knowed win S s made °' wax 
expulsive -, iNas-ai t Would n>t stand sun _heat an' hard whacks. 

[ Falsetto — " I hate to hear everything vulgurly my'd." 

[ Guttural — " Thou slave 1 thou wretch I thou coward ! thou little val- 

Explosive -j Nasal _ liant S reat in villain y ! " 

{ Falsetto — " What did you say? Twenty fiddlesticks? " 

QUESTIONS. 

30. What is Guttural Quality ? 

31. What is Nasal Quality? 

32. What is Falsetto Quality? 



LESSON IX. 

f Pitch. 
I Force. 

33. Modulation, -j Stress, 

I Rate. 
[ Slide. 

34. Modulation is the proper variation of the voice. 



TWENTY LESSONS IN ELOCUTION 



35. The divisions of Modulation are Pitch, Force, Stress, 
Rate and Slide. 

" Tis not enough the voice be sound and clear, 
Tis modulatio?i that must charm the ear." 
It is Modulation that destroys monotony and renders reading and speak- 
ing natural and musical. Without it they become lifeless drawlings. The 
mind must be filled with all the emotions conveyed by a thorough knowl- 
edge of a selection, then only can the voice respond with all its power and 
beauty, by natural and proper modulation in portraying the feeling of the 
soul. 

( High. 

36. Pitch.-] Middle. 

( Low. 

37. Pitch is the degree of highness or lowness of ths voice. 

38. The divisions of Pitch are High, Middle and Low. 

The different degrees of Pitch are produced by the different degrees of 
tension of the vocal cords. There are three positive degrees of Pitch, and 
an indefinite number of relative pitches — as many as the compass of the 
voice will admit. While some have classed Pitch as very high, it is still as 
undefinite as high ; for the pitch might still be higher than very high, until it 
reaches the very highest of which the voice is capable ; so with the classifi- 
cation very low, it may still be lower until it reaches the very lowest of which 
the voice is still capable. 

39. High Pitch is that which is higher than the ordinary- 
key tone of the voice. 

High Pitch is adapted to expressions of command, calling, alarm, terror, 
gayety, ecstatic joy, victory, extreme grief, laughter and courage. 

40. Middle Pitch is that which is on the ordinary key tone 
of the voice. 

It is adapted to expressions of ordinary conversation, plain description 
and simple narrative. 

41. Low Pitch is that which is lower than the ordinary key 
tone of the voice. 

It is adapted to expressions of melancholy, soliloquy, devotion, awe and 
despair. 

The judgment and taste must be exercised in applying the various shades 
of Pitch. The intensity of feeling must be determined before the proper 
expressions can be given. 

1. Learn the outline of Modulation. 

2. Commit the definition of Modulation. 

3. Learn the divisions of Modulation. 



1 4 TWENTY LESSONS IN EL OCUTION 



4. Read carefully the explanation ol Modulation. 

5. Learn the outline of Pitch. 

6. Commit the definition of Pitch. 

7. Learn the divisions of Pitch. 

8. Commit the definitions of High, Middle and Low Pitch. 

9. Learn to what expressions each kind of Pitch is adapted. 

10. Read carefully what is said in explanation of the degrees of Pitch. 

11. Drill on Pitch with the following examples: 

ttjqV f Expulsive — Orotund — "Ah, gentlemen, that was a dreadful mistake." 
'" 1 Explosive — Pure — " I come, I come ! Ye have called me long." 

j Effusive... — Pure — The Lord is my shepherd, I shall not want. 
Middle.. ■< Expulsive — Guttural — "I loathe, abhor, my very soul with strong dis- 

{ gust is stirred." 

f Effusive... — Orutund — " Roll on! thou ever dark and deep blue ocean, 

! roll." 

] Explosive—Aspirate — "The Greek! the Greek! they come, they 

[ come." 



Low 



QUESTIONS. 

33. Place the outline of Modulation on the blackboard. 

34. What is Modulation? 35. What are the divisions of Modulation? 

36. Place the outline of Pitch on the blackboard. 

37. What is Pitch? 38. What are the divisions of Pitch? 

39. What is High Pitch? 40. What is Middle Pitch? 41. What is Low Pitch? 



LESSON X. 

( Strong. 

42. Force... •< Moderate. 

( Subdued 

43. Force is the degree of energy used in producing tone. 

44. There are three degrees of Force : Strong, Moderate 
and Subdued. 

Cart should be taken not to confound Pitch with Force. The tension of 
the vocal cords produce the different degrees of Pitch, while the energy 
with which the breath is forced through the vocal cords produces the dif- 
ferent degrees of Force. 

The suggestions concerning the additional classes of Pitch given by some 
authors will apply also to the additional classes of Force given by them. 

45. Strong Force is that which is greater than the ordinary 
energy of the voice. 

It is suited to expressions of defiance, anger, contempt, intense hatred., 
alarm, terror, shouting, calling, rejoicing, laughter, oratory and courage. 



TWENTY LESSONS IN ELOCUTION. 1 5 

46. Moderate Force is the ordinary energy of the voice. 

It is suited to the expressions of reverence, sublimity, devotion, narrative, 
descriptive and didactic. 

47. Subdued Force is that which is less than the ordinary 
energy of the voice. 

It is suited to expressions of tenderness, languor, pathos, melancholy and 
feebleness. 

1. Learn the outline of Force. 

2. Commit the definition of Force. 

3. Learn the divisions of Force, 

4. Read carefully what is said in explanation of Force. 

5. Commit the definitions of Strong Force, Moderate Force and Subdued 
Force. 

6. Learn to what expressions each kind of Force is adapted. 

7. Drill on Force with the following- examples : 

] Expulsive— Orotund— High— "Three millions of people armed in the 
„• I holy cause of liberty." 

btrong j Explosive— Guttural — Middle— "Here I fling hatred and full defiance 

I in your face." 

\ Effusive— Orotund — Low — Bless the Lord, O my soul! 
Moderate. \ Expulsive— Pure— Middle— "A few drops of water more or less pros- 

J trated Napoleon." 

) Effusive— Pure— Middle— "The curfew tolls the knell of parting 
o . j j 1 day." 

suDauea.. ,- Expulsive— Aspirate— Low— " 'Twere better by far to have married 

J our fair cousin with young Lochinvar." 

QUESTIONS. 

42. Place the outline of Force on the blackboard. 

43. What is Force? 44. What are the divisions of Force? 

45. What is Strong Force ? 

46. What is Moderate Force ? 

47. What is Subdued Force ? 



LESSON XL 



I 1. Sustained. 
j 2. Initial. 
48. Stress. J 3- Fi^l. 

j 4. Compound. 

! 5. Swell. 

I 6. Tremulous, 



1 6 TWENTY LESSONS IN ELOCUTION. 

49. Stress is that emphasis of the voice by which one or more 
words of a sentence are distinguished from the rest. 

50. There are six kinds of Stress — Sustained, Initial, Final, 
Compound, Swell and Tremulous. 

Stress may be either absolute or relative; that is, it may be applied 
independently of any comparison or contrast with other words, or it may 
depend upon comparison or contrast of different parts of a sentence. 

51. Sustained Stress is that in which the emphasis continues 
throughout the entire word. 

It is adapted to expressions of courage, defiance, alarm, terror and com- 
mand. 

52. Initial Stress is that in which the emphasis is placed at 
the beginning of a word and gradually diminishes. 

It is adapted to expressions of oratory, sublimity, description, narration, 
joy and laughter. 

53. Final Stress is that in which the emphasis is gradually 
augmented from the beginning of a word. 

It is adapted to expressions of deep earnestness, horror, intense fear and 
rage. 

54. Compound Stress is a union of Initial and Final. 
It is suited to expressions of scorn, contempt, sarcasm and hate. 

55. Swell Stress is a union of Final and Initial. 

It is adapted to expressions of secret and solemn thought, repose, wailing 
and longing. 

56. Tremulous Stress is that in which the voice is regularly 
and rapidly intermitted. 

It is adapted to expressions of feebleness, deep and suppressed grief, 
languor and remorse. 

1 Learn the outline of Stress. 

2. Commit the definition of Stress. 

3 Learn the kinds of Stress. 

4. Commit the definition of Sustained Stress 

5. Commit the definition of Initial Stress. 

6. Commit the definition of Final Stress. 

7. Commit the definitions of Compound, Swell and Tremulous Stress. 

8. Drill on Stress with the following examples: 



TWENTY LESSONS IS /.LOCUTION. 



Stress. 


Form. 


Quality. 


Pilch . 


Force. 


EXAMPLE8. 


Sustained.. 


Effusive. . . 


Pure . 


High .. 


Strong 


Co'boss! co'boss! co' ! co' ! co'! 


Initial .... 


Expulsive. 


Orotund. 


High ... 


Moderate. . 


"I know of no way of judging the 

future but by the pasi 


Final . 


Expulsive. 


Orotund. 


Middle.. 


Moderate. 


"We may now pause before that 
splendid prodigy, which towered 
above us like some ancient ruin." 


Compound. 


Explosive. 


Guttural. 


Middle.. 


Strong. . 


"Banished from Rome! What's 
banished but set free? " 


Swell 


Effusive. . . 


Pure 


Low. . . . 


Moderate. . 


'•0, that I had the wings of a 
dove, that I might iiy away and 
be at rest ! " 


Tremulous. 


Effusive.. . 


Pure . . 


Low 


Subdued... 


" Pity the sorrows of a poor old 
man, whose trembling footsteps 
have borne him to your door. 



QUESTIONS. 

48. Place the outline of Stress on the blackboard. 

49. What is Stress? 50. What are the divisions of Stress? 
51. What is Sustained Stress? 52. What is Initial Stress ? 
53. What is Final Stress ? 54. What is Compound Stress? 
55. What is Swell Stress? 56. What is Tremulous Stress? 



LESSON XII. 

( 1. Rapid. 

57. Rate.-< 2. Medium. 

( 3- Slow. 

58. Rate is the degree of fastness or slowness of the voice 

59. There are three positive degrees of Rate — Rapid, Medium 
and Slow. 

As with Pitch and Force, there may be an indefinite number of Rates. 

60. Rapid Rate is that in which the utterance is faster than 
in ordinary conversation. 

It is suited to expressions of joy, mirth and excitement, quick changes of 
scene and action, and other expressions of haste. 

61. Medium Rate is that which is used in ordinary conversa- 
tion. 

It is suited to expressions of narrative, descriptive and didactic thought. 

3 



iS 



TWENTY LESSONS IN ELOCUTION 



62. Slow Rate is that which is slower than ordinary conver- 
sation. 

It is suited to expressions of devotion, reverence, solemnity, slow move- 
ments and unanimated thought. 

1. Learn the outline of Rate. 

2. Commit the definition of Rate. 

3. Learn the divisions of Rate. 

4. Commit the definitions of Rapid, Medium and Slow Rate. 

5. Learn to what expressions each class of Rate is adapted. 

6. Drill on Rate with the following examples: 



Rate. 


Form. 


Quality. 


Pitch. 


Force. 


Stress. 


Examples. 


Rapid 


Expulsive. 


Pure . . 


Middle 


Strong. . . 


Initial. 


Then there was mounting in hot 
haste; the steed. 

The mustering squadron, and the 
clattering car 

Went pouring forward with im- 
petuous speed, 

And swiftly forming in the ranks 
of war. 


Medium . 


Effusive. .. 


Pure.. 


Middle 


Moderate 


Final . 


"Full many a gem of purest ray 
serene. 
The dark, unfathomed caves of 
ocean bear; 
Full many a flower is born to blush 
unseen 
And waste its sweetness on the 
desert air." 


Slow 


Effusive . . . 


Pure . . 


Low . . . 


Subdued 


Swell.. 


" By Nebo's lonely mountain, 
On this side of Jordan's wave, 

In a vale in the land of Moab, 
There lies a lonely grave." 



QUESTIONS. 

57. Place the outline of Rate on the blackboard. 

58. What is Rate? 

59. What are the divisions of Rate? 

60. What is Rapid Rate ? 

61. What is Medium Rate? 

62. What is Slow Rate? 



LESSON XIII. 



( Upward. 

63. Slide. < Downward. 

( Circumflex. 

64. Slide is a gradual change of Pitch. 



TWENTY LESSONS IN ELOCUTION. 



65. There are in fact but two Slides of the voice — rising and 
falling; all others are but modifications of the two. 

66. Upward Slide is that in which the voice glides from a 
lower to a higher key. 

67. Downward Slide is that in which the voice glides from a 
higher to a lower key. 

68. Circumflex Slide is a combination of Upward and Down- 
ward. 

It is adapted to expressions of irony, scorn, doubt and hypothesis. 

69. The Monotone is an absence of Slide. 

It is adapted to language expressing solemnity and sublimity. 

1. Learn the outline of Slide. 

2. Commit the definition of Slide. 

3. Learn the kinds of Slide. 

4. Commit the definitions of Upward, Downward and Circumflex Slide. 

5. Learn to what expressions Circumflex Slide is adapted. 

6. Read carefully what is said in explanation of Monotone. 

7. Drill on Slide with the following examples: 



Slide. Form. 


Quality. 


Pitch. 


Force . 


Stress. 


Rate. 


Examples. 


Upward . . . Expulsive . 


Guttural 


Middle . . 


Strong . 


Final. . . . 


Medium . 


•' II.'.- ' mj be but 
mirth and laughter to his Brutus?' 


Downward. Expulsive. 


Orotund . 


Middle . 


Moderate 


Initial . . 


Medium. 


'•It is natural for man to in- 
dulge in the illusions of hope." 


i 
Circumflex . Expulsive . 


F-alsette . 


High . . . 


Strong . . 


Compound . 


Rapid. . . 


" Besides, he'd have better taken 
cold than take our only umbrella.'" 



QUESTIONS. 

63. Place the outline of Slide on the blackboard. 

64. What is Slide? 65. What are the divisions of Slide ? 

66. What is Upward Slide? 

67. What is Downward Slide? 

68. What is Circumflex ? 69. What is Monotone ? 



LESSON XIV. 

[ 1, Attitude. 

70. Gesture. •< 2. Movements. 

( 3. Facial Expression, 

71. Gesture is any harmonious action expressive of sentiment 
and emotion. 



20 TWENTY LESSONS IN ELOCUTION. 

72. The divisions of Gesture are Attitude, Movement and 
Facial Expression. 

Speech appeals to the ear, but Gesture appeals to. the eye. Without 
Gesture man is only a speaking machine. The correct utterance, distinct 
articulation, perfect modulation, proper emphasis and musical cadence lose 
much of their beauty and force, if not accompanied by an easy attitude, 
graceful movements, and suitable expressions of countenance. "Suit the 
action to the word " is but to "hold the mirror up to nature." The perfect 
elocutionist must combine harmonious sound with graceful action. 

r. Firm. 

2. Relaxed. 

3. Advanced. 

4. Retired. 

74. Attitude is the posture or position of the body in repre- 



73. Attitude . 



75. There are four kinds of Attitude — Firm, Relaxed, Ad- 
vanced and Retired. 

76. Firm Attitude is that in which the body is erect and the 
muscles are fixed and rigid. 

It is adapted to language denoting courage, defiance, boldness, sublimity, 
commanding, independence and pride. 

JJ. Relaxed Attitude is that in which the muscles are in a 
loose or slackened condition. 

It is suited to language expressing languor, fatigue, horror, intense fear, 
amazement, disinterestedness, and unemotional language generally. 

78. Advanced Attitude is that in which the body is inclined 
forward. 

It is adapted to listening, peering into, hailing, welcome, intense interest, 
devotion, presentation, caution and humility. 

79. Retired Attitude is that in which the body assumes a re- 
ceding posture. 

It is adapted to language denoting disdain, defiance, aversion and abhor- 
rent repulsion. 

1. Learn the outline of Gesture. 

2. Commit the definition of Gesture. 

3. What are the divisions of Gesture. 

4. Read carefully what is said in explanation of Gesture. 

5. Learn the outline of Attitude. 

6. Commit the definition of Attitude. 

7. Learn the kinds of Attitude. 



TWENTY LESSONS IN ELOCUTIuX. 21 



8. Commit the definitions of Firm, Relaxed, Advanced and Retired At- 
titude. 

9. Learn to what expressions each kind is adapted. 
10. Drill on Attitude with the following examples: 

Firm — " Glory, honor and power be unto him that sitteth on the throne." 
Relaxed — "Their spirits were depressed with the weight of adversity." 

Advanced - 



Deep into the darkness peering, long I stood there — wondering 

fearing." 



Retired — " Hence! horrible shadow — unreal mockery, hence ! " 

QUESTIONS. 

70. Place the outline of Gesture on the blackboard. 

71. What is Gesture? 72. What are the divisions of Gesture? 

73. Place the outline of Attitude on the blackboard. 

74. What is Attitude? 75. What are the kinds of Attitude? 
76. What is Firm Attitude? 77. What is Relaxed Attitude? 

78. What is Advanced Attitude ! 79. What is Retired Attitude ? 



LESSON XV. 

( Head. 
80. Movement... ■< Upper Limbs. 

( Lower Limbs. 
Si. Movement is a change of position, expressive of senti- 
ment or emotion. 

82. There are three classes of Movements — of the Head, 
Upper Limbs and Lower Limbs. 

f Erect. 

j Inclined Back. 

„ tt , Inclined Forward. 

83. Head....^ T ,.. , , c ., 

j Inclined to bide. 

I Listening. 

[ Obliquely Back. 

An Erect position denotes firmness, manliness and courage. 

The Head is Inclined Back in sublime flights of eloquence. 

The Head is Inclined Forward in deep reflection and recollection, also 
in humiliation and shame. 

The Head is Inclined to Side in pathetic appeal. 

The Head assumes a Listening position in efforts to hear. 

The Head is thrown Obliquely Back in light calculation, disgust and 
abhorrence. 

Proper Gestures of the Head are made in natural response to the feel- 
ings of the breast. It takes no special drill to secure proper movements of 



22 TWENTY LESSONS IN ELOCUTION. 



the Head. The drill is required to correct the habit some have of continu- 
ally nodding, as if to signify approval, or give stress to what is read or 
spoken. 

i. Learn the outline of Movement. 

2. Commit the definition of Movement. 

3. Learn the classes of Movement. 

4. Learn the outline of Head Movements. 

5. Learn to what expressions each movement of the Head is adapted. 

6. Read carefully what is said in explanation of Head Movements. 

7. Drill on Head Movements with the following examples: 

Erect — "Ye stand here now like giants, as ye are." 

,„ .• 1 r -, ("Other friends have flown before. On the morrow he will 

Inclined Forward. ] leaye ^ ag my hopes haye flown before „ 

Inclined Back — Hail holy light, offspring of heaven's first born. 

Inclin-d to Side ' ' Now > Caudle dear! What a man you are! I know von will 

c ' 1 give me the money." 

Listening — "Whence comes those shrieks, so wild and shrill?" 

QUESTIONS. 
Si >. Place the outline of Movement on the blackboard. 
Si. What is Movement? 

82. What are the classes of Movement? 

83. Place the outline of Head Movements on the blackboard. 



LESSON XVI. 

f Direction. 

TT t • 1 1 Position of Hand. 

84. Upper Limbs. J . „ ... r A 

^ l l j Position of Arm. 

[ Kinds. 

85. Movements of the Upper Limbs includes Gesture made 
by the Hands and Arms. 

86. The divisions of Upper Limb Movements are Direction, 
Position of Hand, Position of Arm and Kind. 

„ TV .. j Straight Lines. 

87. Direction. < ~ s , T . 

' { Curved Lines. 

88. The Movements of the Upper Limbs are in Straight lines 
and Curves. 

Straight line Movements are adapted to forcible, energetic and hold ex- 
pressions. 

Curved lino Movements are adapted to subdued, pathetic, beautiful and 
sublime expressions 



TWENTY LESSONS IN ELOCUTION 23 



89. Positions of the Hand, j ^pf^' 

90. The Positions of the Hand are Ordinary and Special. 
Ordinary Positions of the Hand are those most commonly used in all 

varieties of discourse. 

Special Positions of the Hand are those used in directing special atten- 
tion to any object or assertion, or in unusually strong feeling. 

,^^■ r> -i.- ( Prone. 

91. Ordinary Positions...- g ine 

92. The Ordinary Positions of the Hand are Prone and Supine. 

93. Prone Position is that in which the palm is downward, 
the fingers slightly curved. 

It is used to indicate super-position, or the resting- of one object, part or 
principle upon another, and to show treachery, concealment and moral and 
physical destruction. 

94. Supine Position is that in which the palm is turned up- 
ward. 

It is to indicate naked truths, bare thought, intellectual ideas, and the 
holding up for example. 

It will be noticed that the Prone indicates covering up, closing over, con- 
cealment; and the Supine, revelation, exposition, giving out. 

I Vertical. 

„ r. • 1 -n v I Indexical. 

95. Special Positions... -j Qenched . 

[ Clasped. 

96. Vertical Position is that in which the fingers point up- 
ward. 

It is used in repulsion, depreciation, horror, surprise, amazement, pity 
and solemn obligation. 

97. Indexical Position is that in which the index finger is 

extended, the others being closed. 

It is used in close and emphatic designation and discrimination, and to 
point out distinctly. 

98. Clenched Position is that in which the hand is tightly 

closed. 

It is used in fierce determination, desperate resolve, vehement declara- 
tion and threatening violence. 



24 TWENTY LESSONS IN ELOCUTION. 

99. Clasped Position is that in which the hands are locked 
together. 

It is used in supplication and earnest entreaty. 

1. Learn the outline of Upper limb Movement. 

2. Commit the definition of Upper limb Movement. 

3. Learn the divisions of Upper limb Movements. 

4. Learn the outline of Direction. 

5. Commit the classes of Direction of Upper limb Movements. 

6. Learn to what expressions Straight and Curved line Movements are 
adapted. 

7. Learn the outline of Position of the Hand, 

8. Learn the general classes of Position of the Hand. 

9. Read carefully what is said in explanation of Ordinary and Special 
Positions of the Hand. 

10. Learn the outline of Ordinary Positions of the Hand, 
n. Learn the classes of Ordinary Positions. 

12. Commit the definition of Prone and Supine Positions. 

13. Learn to what expressions the Prone and Supine Positions are adapted. 

14. Learn the outline of Special Position, 

15. Commit the definitions of Vertical, Indexical, Clenched and Clasped 
Positions. 

16. Learn to what expressions each Position is adapted. 

17. Drill on Position of the Hand with the following examples: 

Ordinar r \ ^ rone — " Green be the turf above thee." 

y* { Supine — "Truth, honor and justice were his motives." 

f Vertical — "Sir, before God I believe the hour has come." 
c • 1 J Indexical — " In yonder grave a Druid lies." 
3pecial ] Clenched— "I will resist unto death." 

[Clasped — "O, our Father of mercy, forgive." 

QUESTIONS. 

84. Place on the blackboard the outline of Upper limb Movements. 

85. What do movements of the upper limbs include? 

86. What are the divisions of Upper limb Movements? 

87. Place the outline of Direction on the blackboard. 

88. What are the directions of the Upper limb Movements? 

89. Place the outline of Positions of the Hand on the blackboard. 

90. What are the general Positions of the Hand? 

91. Place the outline of Ordinary. Positions on the blackboard. 

92. What are the Ordinary Positions of the Hand? 

93. What is Prone Position? 94. What is Supine Position? 

95. Place the outline of Special Positions on the blackboard. 

96. What is Vertical Position? 97. What is Indexical Position? 

98. What is Clenched Position ? 

99, What is Clasped Position? 



TWENTY LESSONS IN ELOCUTION 2$ 



LESSON XVII. 

roo. Positions of Arm. \ J ^ r 7' 

{ becondary. 

101. The two classes of Positions of the Arm are Primary 
and Secondary. 

By Primary Positions are meant those simple and general positions which 
form the basis of classification. 

i Horizontal. 
IC2. Primary Positions. < Ascending. 

( Descending. 

103. The three Primary Positions are Horizontal, Ascending 
and Descending. 

104. Horizontal Position is that in which the arm is horizon- 
tal with the shoulder. 

It is adapted to general thought, philosophical narrative and description, 
and appeals to the intellect. 

105. Ascending Position is that in which the arm ascends 
from the shoulder. 

It is adapted to sublime thought and eloquent discourse, and appeals to 
the imagination. 

106. Descending Position is that in which the arm descends 

from the shoulder, 

It is adapted to resolute and emphatic assertion, vehement argument and 
determination of purpose, and appeals to the will. 

f Front. 

107. Secondary Positions.. -{ T ° « " 

[ Back Oblique. 
Secondary Positions are those which are dependent on the Primary. 

108. The four Secondary Positions are — Front, Front Oblique, 
Lateral and Back Oblique. 

109. The Front Position is that in which the arm is extend- 
ed directly in front. 

Whether horizontal, ascending ox descending, it is adapted to direct appeal , 
where the range of thought is confined to a narrow scope. 

1 10. The Front Oblique Position is that in which the arm is 
extended at an angle of forty-five degrees from the front. 

Whether horizontal, ascending or descending, it is adapted to language 
less emphatic and broader in scope than the Front. 



26 TWENTY LESSONS IN EL0CU770A 



ill. Lateral Position is that in which the arm is extended 
directly from the side. 

Whether horizontal, ascending or descending, it is adapted to language o 
a general character, and is in harmony with the broadest scope of thought. 

112. Back Oblique Position is that in which the arm extends 
backwards forty-five degrees. 

Whether horizontal, ascending or descending, it is adapted to language 
referring to the past and remoteness of thought 

In Gesture with the Upper Extremities, the shoulder should be made the 
center of motion, and the movements, through great or small space, quick 
or slow action, should be commensurate with the character of the discourse 
and realm of thought. 

1*. , ( Single. 
n 3 . Kinds. j Do * bk 

The Gesture of the Upper Extremities are of two kinds — Single and 
Double. 

When one arm is used, the Gesture is called Single, and when both are 
used it is called Double. 

In Single Gesture perference should always be given to the right arm, 
and only when reference is made to objects or persons on the left should 
that arm be used. 

In Double Gesture the same position of the arms should be observed, 
and they should be brought into action simultaneously. The Double Ges- 
ture denotes stronger feeling than the Single, 
i. Learn the outline of Positions of the Arm. 

2. Learn the general classes of Positions of the Arm. 

3. Learn the outline of Primary Positions. 

4. Learn the three Primary Positions of the Arm. 

5. Commit the definitions tor Horizontal, Ascending and Descending 
Positions. 

6. Learn to what characters of thought each Position is adapted 

7. Learn the outline of Secondary Positions. 
8 Learn the classes of Secondary Positions. 
9. Commit the definition of each Position. 

10. Learn to what expressions each is adapted. 

1 1. Read carefully what is said of Positions of the Arm. 
12 Learn the outline of Kinds of Movements. 

13. Read carefully what is said in explanation of the Kinds. 

14. Drill on Positions of the Arm with the following examples: 

I Front — "I appeal to you, Mr. President." 
,, , J Front Oblique — " These seem to be vour sentiments, sirs." 

Horizontal .. , La teral— "All men are created equal." 

I Back Oblique — Away back in the history of the past I find it written. 

C Front — "Thou art my Father and my God." 
. -. j Front Oblique — "Ye crags and peaks, I am with you once again." 

:ru ln K j Lateral — "And robes the mountain in its azure hue." 

I Back Oblique — "The sunset of life gives me mystical lore." 



TWENTY LESSONS IN ELOCUTION. 2? 



( Front — " The war is inevitable." 
n , ,. J Front Oblique — "What is done cannot be undone." 
uescenmng. < Latera i_<< Thou canst not then be false to any man " 

I Back Oblique— Get thee behind me, Satan. 

QUESTIONS. 
ioo. Place the outline of Positions of the Arm on the blackboard 
[oi. What are the general classes of positions of the Arm? 

102. Place the outline of Primary Positions on the blackboard 

103. What are the three Primary Positions? 

104. What is the Horizontal Position? 

105. What is the Ascending Position? 

106. What is the Descending Position? 

107. Place the outline of Secondary Positions on the blackboard 

108. What are the four Secondary" Positions? 

109. What is Front Position? no. What is Front Oblique Position ? 
in. What is Lateral Position? 112. What is Back Oblique Position 7 
113. Place the Kinds of Position of the Arm on the blackboard 



LESSON XVIII, 

1 14. Positions of Lower Limbs, j ^ . _, 

1 r 5. There are two Positions of the Lower Limbs — Advanced 
and Retired, 

1 16. The Advanced Position is that in which either foot may 
be placed forward, the other supporting the body. 

1 17. The Retired Position is that in which either foot may be 
placed back, the other supporting the body. 

By simply changing the support of the body the position of the lower 
limbs change. 

The distance that the feet should be apart varies from four to nine inches, 
•and the angle that should be formed by the position of the feet is ninety 
degrees in the Advanced and seventy in the Retired. The angle can be 
determined by drawing a straight line under the sole of each foot, causing 
them to intersect. It will be observed that advanced position of the lower 
limbs necessitate a retired attitude of the body, and retired position of the 
lower limbs an advanced attitude of the body. 



2$ TWENTY LESSONS IN ELOCUTION. 



Smiling. 
Frowning. 

M 8. Facial Expression. \ p, ., b " 

Dejected. 

Averted. 

Staring. 

1 19. Facial Expression has reference to the feeling and emo- 
tion conveyed by the expression of the countenance. 

120. Some of the Facial Expressions are — Smiling, Frown- 
ing, Rigid, Sneering, Placid, Dejected, Averted and Staring. 

Not more accurately does the mirror reflect the image of any object pre- 
sented to it than the countenance reflects what takes place in the mind. It 
is, indeed, the "mirror of the soul." Every feeling cf pain or pleasure, joy 
or grief, victory or defeat, finds its way to the surface, and is written in 
natural and vivid impress upon the face. Every contortion of the features, 
every contraction of the brow, every compression of the lips, every flash of 
the eye, expresses some passion or sentiment of the mind. We find the 
countenance radiant with smiles in courtesy, joy and good humor; we find 
it clouded in displeasure, suppressed anger, envy, hatred and jealousy ; we 
find it fixed and rigid in determination, courage and resolute despair. It is 
dejected and softened in sorrow, cast down and averted in shame. The 
face should be taught to reflect promptly every change of emotion, as the 
scene changes to suit the action of the stage. The brow, eyes and mouth 
are the features which must be most prominent in producing proper facial 
expression, and it is therefore necessary to study the effect produced on the 
countenance by a change of these features, and what particular passion, 
feeling or sentiment produces the change. 

1 Learn the outline of Positions of Lower Limbs. 

2. Learn the Positions of Lower Limbs. 

3 Commit the definitions of Advanced and Retired Positions. 

4. Read carefully what is said of these Positions. 

5. Learn the outline of Facial Expression. 

6. Commit the definition of Facial Expression. 

7. Learn some of the Facial Expressions. 

8 Study carefully what is said of various Facial Expressions. 
9. Drill on Positions of the Lower Limbs and Facial Expressions with 
the following examples: 

I Advanced — "There, there again ! that demon's there, 
Position of Lower Limbs., j Crouching to make a fresh attack " 

( Change* positi 1 Retired — " Deep into the darkness peering, long I 

stood there.'' 



TWENTY LESSONS IN ELOCUTION. 29 



f Smiling—" I am delighted to see you." 
Frowning — " I am amazed that you, my biggest pupil, should 
be guilty of an act so rude." 
j Rigid— "(iive me the iron, I say, and bind him there." 
Sneering — ''Has the gentleman done? Has he completely 
„ . . . J done?" 

Facial Expression. , pladd _« Pve wan dered to the village, Tom, 

I've sat beneath the tree." 
Dejected — "Alas! my noble boy, that thou shouldst die! " 
Averted — " Twas she herself, sir," sobbed the lad; 
" I did not mean to be so bad." 
I Staring -What light through yonder window breaks?" 

QUESTIONS. 

114. Place the outline for Positions of the Lower Limbs on the blackboard. 

1 15. What are the two Positions of the Lower Limbs? 

116. What is the Advanced Position? 

117. What is the Retired Position? 

1 18. Place the outline of Facial Expression on the blackboard. 

119. What is Facial Expression? 

j 20. What are some of the Facial Expressions? 



io 



TWENTY LESSONS IN ELOCUTION, 



LESSON XIX.— Outline of Elocution, 



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id physical culture 
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. Retired. 


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Averted. 

Staring. 


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Inclined to side. 
Listening. 
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TWENTY LESSONS IN ELOCUTION. 



3» 



LESSON XX. 

DRILL FOR VOCAL CULTURE. 
The long sound of the vowels are to be uttered in the manner indicated 
a number of times each day, until the tone becomes full, smooth and clear. 
resounding with a ringing sound. Efforts to locate the tone as far down in 
the chest, without giving it a pectoral quality, should be encouraged, as this 
will add richness and volume to the voice 

Effusively. 

Expulsively. 

Explosively. 

Initial Stress. 

Final Stress. 

Sustained Stress. 

Compound Stress. 

Swell Stress. 

Tremulous Stress. 



a-e-i-o-u, 
a-e-i-o-u, 
a-e-i-o-u, 
a-e-i-o-u, 
a-e-i-o-u, 
a-e-i-o-u, 
a-e-i-o-u, 
a-e-i-o-u, 
a-e-i-o-u, 



O 





EXAMPLES IN VOCAL EXPRESSION. 
[Read each example in all Forms and Qualities.] 

1. "Jo. was very glad to see his old friend." 

2. "It took Rome three hundred years to die." 

3. " The federal Union must be preserved at all hazards. " 

4. "Ye fat braggart, an' ye call me coward, I'll stab thee! " 

5. "Speak the speech, I pray you, as I pronounce it to you, trippingly on 
the tongue." 

6. "Oh! how oft I've walked these hills, and looked up to my God. and 
blessed him that this land was free ! " 

7. "I know not what course others may take, but as for me, give me lib- 
erty, or give me death ! " 

8. "Tell me not in mournful numbers, 

Life is but an empty dream. " 



in the following selections for practice, care has been taken to select such 
examples as would illustrate one modulation of the voice at a time. Hence 
it will be found that the modulation indicated at the head of any piece will 
predominate, though it may not be appropriate throughout. It is therefore 
recommended that, at first, attention be given only to what is indicated, 
applying what is learned in previous selection as the student advances. 
The judgment and taste must guide in applying the principles of elocution. 



Selections for Practice. 



THE RAINY DAY. 

{Effusive Form,) 
The day is cold, and dark, and dreary ; 
It rains, and the wind is never weary ; 
The vine still clings to the mouldering wall, 
But at every gust the dead leaves fall, 
And the day is dark and dreary. 

My life is cold, and dark, and dreary ; 
It rains, and the wind is never weary ; 
My thoughts still cling to the mouldering past, 
But the hopes of youth fall thick in the blast, 
And the days are dark and dreary. 

Be still, sad heart ! and cease repining ; 
Behind the clouds is the sun still shining ; 
Thy fate is the common fate of all, 
Into each life some rain must fall, 

Some days must be dark and dreary. —Longfellow, 



THE NATURE OF TRUE ELOQUENCE. 

{Expulsive Form.) 
True elocpience does not consist in speech. It can not be brought from far. Labor 
and learning may toil for it, but they will toil in vain. Words and phrases may be 
marshaled in every way, but they can not compass it. It must exist in the man, in 
the subject, and in the occasion. Affected passion, intense expression, the pomp of 
declamation, all may aspire after it — they can not reach it. It comes, if it comes at 
all, like the out-breaking of a fountain from the earth, or the bursting forth of vol- 
canic fires, with spontaneous, original, native force. The graces taught in the 
schools, the costly ornaments and studied contrivances of speech, shock and disgust 
men, when their own lives, and the fate of their wives, their children, and their 
country hang on the decision of the hour. Then words have lost their power, 
rhetoric is vain, and all elaborate oratory contemptible. Even genius itself then 
feels rebuked and subdued, as in the presence of higher qualities. Then patriotism 
is eloquent ; then self-devotion is eloquent. The clear conception, outrunning the 
deductions of logic, the high purpose, the firm resolve, the dauntless spirit, speak- 
ing on the tongue, beaming from the eye, informing every feature, and urging the 
whole man onward, right onward to his object — this, this is eloquence ; or, rather, 
it is something greater and higher than all eloquence : it is action, noble, sublime, 
God-like action.— Daniel Webster. 5 



34 SELECTIONS FOR PRACTICE. 



REPLY TO MR. CORRY. 

(Explosive Form) 

The right honorable gentleman has called me "an unimpeached traitor." I ask 
why not "traitor," unqualified by an epithet? I will tell him: it was because he 
durst not. It was the act of a coward, who raises his arm to strike, but has not 
courage to give the blow. I will not call him villain, because it would be unparlia- 
mentary, and he is a privy counsellor. I will not call him fool, because he happens 
to be chancellor of the exchequer. But I say, he is one who has abused the privi- 
lege of Parliament and the freedom of debate, by uttering language which, if spo- 
ken out of the House, I should answer only with a blow. I care not how high his 
situation, how low his character, how contemptible his speech ; whether a privy 
counsellor or a parasite, my answer would be a blow. 

He has charged me with being connected with the rebels. The charge is utterly, 
totally and meanly false. Does the honorable gentleman rely on the report of the 
House of Lords for the foundation of his assertion ? If he does, I can prove to the 
committee there was a physical impossibility of that report being true. But I scorn 
to answer any man for my conduct, whether he be a political coxcomb, or whether 
he brought himself into power by a false glare of courage or not. 

I have returned — not as the right honorable member has said, to raise another 
storm — I have returned to discharge an honorable debt of gratitude to my country, 
that conferred a great reward for past services, which, I am proud to say, was not 
greater than my desert. I have returned to protect that Constitution of which I was 
the parent and founder, from the assassination of such men as the right honorable 
gentleman and his unworthy associates. They are corrupt, they are seditious, and 
they, at this very moment, are in a conspiracy against their country. I have returned 
to refute a libel, as false as it is malicious, given to the public under the appellation 
of a report of the committee of the Lords. Here I stand, ready for impeachment 
or trial. I dare accusation. I defy the honorable gentlemin ; I defy the govern- 
ment ; I defy their whole phalanx ; let them come forth. I tell the ministers, I will 
neither give quarter nor take it. I am here to lay the shattered remains of my con- 
stitution on the floor of this House, in defense of the liberties of my country. — //. 
Grattan. 



A PSALM OF LIFE. 

(Pure Quality.) 

Tell me not in mournful numbers, 

Life is but an empty dream ! 
For the soul is dead that slumbers, 
And things are not what they seem. 

Life is real ! Life is earnest ! 

And the grave is not its goal ; 
Dust thou art, to dust returnest, 

Was not written of the soul. 

Not enjoyment, and not sorrow, 
Is our destin'd end and way, 

Hut to act, that each to-morrow 
Find us farther than to-day. 



SELECTIONS FOR PRACTICE. 35 



Art is long, and time is fleeting, 

And our hearts, though stout and brave, 

Still, like muffled drums, are beating 
Funeral marches to the grave. 

In the world's broad field of battle, 

In the bivouac of life, 
Be not like dumb, driven cattle ! 

Be a hero in the strife ! 

Trust no future, howe'er pleasant, 

Let the dead Past bury its dead ! 
Act ! — act in the living Present ! 

Heart within, and God o'er head. 

Lives of great men all remind us, 

We can make our lives sublime, 
And, departing, leave behind us, 

Footprints on the sands of time. 

Footprints, that perhaps another, 

Sailing o'er life's solemn main, 
A forlorn and shipwreck' d brother, 

Seeing, shall take heart again. 

Let us, then, be up and doing, 

With a heart for any fate ; 
Still achieving, still pursuing, 

Learn to labor and to wait. — Longfelloio 



AGAINST WARREN HASTINGS. 

( Orotund Quality. > 

Do we want a tribunal ? My Lords, no example of antiquity, nothing in the 
modern world, nothing in the range of human imagination, can supply us with a 
tribunal like this. We commit safely the interests of India and humanity into your 
hands. Therefore it is with confidence that, ordered by the Commons, 

I impeach Warren Hastings, Esquire, of high crimes and misdemeanors. 

I impeach him in the name of the Commons of Great Britain in Parliament as 
sembled, whose parliamentary trust he has betrayed. 

I impeach him in the name of all the Commons of Great Britain, whose national 
character he has dishonored. 

I impeach him in the name of the people of India, whose laws, rights, and liber- 
ties, he has subverted ; whose properties he has destroyed ; whose country he has 
laid waste and desolate. 

I impeach him in the name and by virtue of those eternal laws of justice which 
he has violated. 

I impeach him in the name of human nature itself, which he has cruelly outraged, 
injured, and oppressed, in both sexes, in every age, rank, situation, and condition 
of life. — Burke. 



SELECTIONS FOR PRACTICE. 



TELL ON HIS NATIVE HILLS. 

( Orotund Quality.) 
Oh, with what pride I used 
To walk these hills, and look up to my God, 
And bless him that the land was free ! 'T was free — 
From end to end, from cliff to lake, 't was free ! 
Free as our torrents are that leap our rocks, 
And plow our valleys, without asking leave ! 
Or as our peaks, that wear their caps of snow 
In very presence of the regal sun ! 

How happy was it then ? I loved 
Its very storms. Yes, I have sat 
In my boat at night, when, midway o'er the lake, 
The stars went out, and down the mountain gorge 
The wind came roaring. I have sat and eyed 
The thunder breaking from his cloud, and smiled 
To see him shake his lightnings o'er my head, 
And think I had no master save his own ! 

On yonder jutting cliff, o'ertaken there 

By the mountain blast, I 've laid me flat along, 

And while gust followed gust more furiously, 

As if to sweep me o'er the horrid brink, 

And I have thought of other lands, whose storms 

Are summer-flaws to those of mine, and just 

Have wished me there — the thought that mine was free 

Has checked that wish, and I have raised my head, 

And cried in thraldom to that furious wind, 

Blow on ! — this is the land of liberty ! -Kitowlei 



PARRHASIUS AND THE CAPTIVE. 

(Aspirate Quality.) 
Parrhasius stood, gazing forgetfully 
Upon his canvas. There Prometheus lay, 
Chained to the cold rocks of Mount Caucasus — 
The vulture at his vitals, and the links 
Of the lame Lemnian festering in his flesh ; 
And as the painter's mind felt through the dim, 
Rapt mystery, and plucked the shadows forth 
With its far-reaching fancy, and with form 
And color clad them, his tine, earnest eye 
Flash'd with a passionate fire, and the quick curl 
Of his thin nostril, and his quivering lip, 
Were like the wing'd god's, breathing from his flight. 



SELECTIONS FOR PRACTICE. 37 



" Bring me the captive now ! 
My hand feels skillful, and the shadows lift 
From my waked spirit airily and swift, 

And I could paint the bow 
Upon the bended heavens — around me play 
Colors of such divinity to day. 

" Ha ! bind him on his back ! 
Look ! — as Prometheus in my picture here ! 
Quick — or he faints ! — stand with the cordial near 

Now — bend him to the rack ! 
Press down the poison' d links into his flesh ! 
And tear agape that healing wound afresh ! 

" So — let him writhe ! How long 
Will he live thus ? Quick, my good pencil, now ! 
What a fine agony works upon his brow ! 

Ha ! gray-hair'd, and so strong ! 
How fearfully he stifles that short moan ! 
Gods ! if I could but paint a dying groan ! 

"'Pity' thee ! So I do ! 
I pity the dumb victim at the altar — 
But does the robed priest for his pity falter ? 

I 'd rack thee, though I knew 
A thousand lives were perishing in thine — 
What were ten thousand to a fame like mine ? 

' ' ' Hereafter ! ' Ay — hereafter ! 
A whip to keep a coward to his track ! 
What gave Death ever from his kingdom back 

To check the skeptic's laughter? 
Come from the grave to-morrow with that story 
And I may take some softer path to glory. 

" No, no, old man ! we die 
Even as the flowers, and we shall breathe away 
Our life upon the chance wind, even as they ! 

Strain well thy fainting eye — 
For when that bloodshot quivering is o'er, 
The light of heaven will never reach thee more. 

"Yet there 's a deathless name! 
A spirit that the smothering vault should spurn, 
And like a steadfast planet mount and burn — 

And though its crown of flame 
Consumed my brain to ashes as it shone, 
By all the fiery stars ! I 'd bind it on ! 



SELECTIONS EOR PRACTICE. 



"Ay — though it bid me rifle 
My heart's last fount for its insatiate thirst — 
Though every life-strung nerve be madden'd first — 

Though it should bid me stifle 
The yearning in my throat for my sweet child, 
And taunt its mother till my brain went wild — 

"All — I would do it all — 
Sooner than die, like a dull worm, to rot — 
Thrust foully into earth to be forgot ! 

O heavens ! — but I appall 

Your heart, old man ! forgive ha ! on your lives 

Let him not faint ! — rack him till he revives ! 

" Vain — vain — give o'er ! His eye 
Glazes apace. He does not feel you now — 
Stand back ! I '11 paint the death-dew on his brow ! 

Gods ! if he do not die 
But for one moment — one — till I eclipse 
Conception with the scorn of those calm lips ! 

" Shivering ! Hark ! he mutters 
Brokenly now — that was a difficult breath — 
Another ? Wilt thou never come, O Death ! 

Look ! how his temple flutters ! 
Is his heart still ? Aha ! lift up his head ! 
He shudders — gasps — Jove help him ! — so — he' s dead. ' ' 

How like a mounting devil in the heart 

Rules the unrein' d a??ibition! Let it once 

But play the monarch, and its haughty brow 

Glows with a beauty that bewilders thought 

And unthrones peace forever. Putting on 

The very pomp of Lucifer, it turns 

The heart to ashes, and with not a spring 

Left in the bosom for the spirit's lip, 

We look upon our splendor and forget 

The thirst of which we perish ! — N. P. Willis 



WAX WORK. 

( Nasal Quality.) 
Once on a time, some years ago, 

Two Yankees, from Connecticut, 
Were traveling — on foot, of course, >j 

A style now out of date ; 
And, being far away down South, 

It was n't strange or funny, 
That they, like other folks, sometimes 

Should be out of money. 



SELECTIONS FOR PRACTICE. 39 



So, coming to a thriving place, 

They hired a lofty hall, 
And on the corners of the streets 

Put handbills, great and small, 
Telling the people, far and near, 

In printed black and white, 
They 'd give a show of %uax zuork 

In the great town-hall that night. 

Of course the people thought to see 

A mighty show of figures, 
Of Napoleon, Byron, George the Third, 

And lots of foreign gentlemen ; 
Of Mary, Queen of Scots, you know, 

And monks in black and white, 
Heroes, peasants, potentates, 

In wax work brought to light. 

One of the Yankees had, they say, 

A monstrous mouth, 
And nasal twang, with which 

He thought to gull the South ; 
Be that as it may — you see 

A fearful noise he made, 
Although he talked obscurely, 

And made on all a useless raid. 

The other was a handsome man, 

Quite pleasant, and quite fine ; 
He had a form of finest mould, 

And straight as any pine. 
Indeed, he was a handsome man 

As you will often see, 
Much more so than you — or you — or you, 

Like President Grant — or me. 

This handsome man stood at the door 

To let the people in, 
And the way he took the quarters 

And the shillings was a sin : 
And when the time of show had come, 

He a curtain pulled aside. 
And our friend, with a monstrous mouth, 

Stood in all his pomp and pride. 

And in his brawny hand he held 

A pound or two, or more, 
Of shoemaker 's wax, which he 

Had some time made before. 



40 SELECTIONS FOR PRACTICE. 



He began to work it, 

And his audience thus addressed, 
And the people looked and listened ; 

Let their great surprise be guessed. 

Said he, "My friends, how some folks cheat 

I never could conceive ; 
But this is the real wax work, 

For I stoop not to deceive ; 
This is your real wax work, 

For your quarters and your twelves. 
Ladies and gentlemen, just walk up 

And examine for yourselves." 

But when the people saw the joke, 

With anger they turned pale, 
Hammer and tongs they came at him, 

To ride him on a rail*; 
But he had an open window, 

And a ladder to the ground, 
And just as he went out of sight, 

He turned himself around. 

And, holding up the wax to View, 

Said, with a saucy grin, 
" My friends, here 's no deception, 

For I scorn to take you in ; 
This" is real wax work, 

For your quarters and your twelves. 
Ladies and gentlemen, please walk up 

And examine for yourselves. ' ' 



SCENE BETWEEN BRUTUS AND CASSIUS. 
{Guttural Quality.) 

Cas. Must I endure all this ? 

Brti. All this ? ay, more : Fret till your proud heart break 
Go show your slaves how choleric you are, 
And make your bondmen tremble. Must I budge ? 
Must I observe you ? must I stand and crouch 
Under your testy humor? By the gods, 
You shall digest the venom of your spleen, 
Though it do split you ; for, from this day forth, 
I '11 use you for my mirth, yea, for my laughter, 
When you are waspish. 

Cas. Is it come to this ? 

Bru. You say you are a better soldier : 
Let it appear so ; make your vaunting true, 
And it shall please me well : For mine own part, 



SELECTIONS FOR PRACTICE 



! be glad to learn of noble men. 
Cas. You wro way : you wrong me, Brutus: 

I said an elder soldier, not a better: 
Did I say better ? 

Bru. If you did, I eare not. 

ir lived, be durst not thus have moved me 

Bru. Peace, peace ; you durst not so bave tempted him. 

Cas. I durst not ? 

Bru. No. 

Cas. What! durst not tempt him ? 

Bru. For your life you durst not. 

Cas. Do not presume too much upon my love ; 
1 may do that 1 shall be sorry for. 

Bru. You bave done that you should be sorry for. 
There is no terror, Cassius, in your threats ; 
For I am arm'd so strong in hone 
That tbey pass me as the idle wind, 
Which I respect not. I did send to you 
For certain sums of gold, which you denied me — 
For I can raise no money by vile means ; 

1 had rather coin my heart, 

And drop my blood foi drachms, than to wring 

From the bard hands of peasants their vile trash 

By any indirection. I did send 

To you for gold to pay my legions, 

Which you denied me : Was that done like Cassius ? 

Should I have answered Caius Cassius so ? 

When Marcus Brutus grows so covetous, 

To lock such rascal counters from his friends, 

Be ready, gods, with all your thunderbolts, 

•Dash him to pieces ■! ->Shakspeare 



THE HAUNTED HOUSE. 
(Aspirate and Pectoral Quality.) 
Some dreams we bave are nothing else but dreams.. 

Unnatural, and full of contradictions ; 
Yet others of our most romantic schemes 
Are something more than fiction. 

It might be only on enchanted ground, 

It might be merely by a thought's expansion, 

But in the spirit or the flesh, I found 
An old deserted mansion. 



A residence for woman, child, and man, 
A dwelling-place and yet no habitation, 

A house — but under some prodigious ban. 
Of excommunication. 



SELECTION'S FOR PRACTICE. 



No dog was at the theshold, great or small, 

No pigeon on the roof, no household creature — 
No cat demurely dozing on the wall — 

Not one domestic feature- 
No human figure stirred to go or come ; 

No face looked forth from shut or open casement : 
No chimney smoked — there was no sign of home 

From parapet to basement. 

O'er all there hung a shadow and a fear ; 

A sense of mystery the spirit daunted, 
And said as plain as whisper in the ear — 

The place is haunted. 

No sound was heard except from far away 
The ringing of the whitewall's shrilly laughter. 

Or now and then the chatter of the jay, 
That Echo murmured after. 

The beds were all untouched by hand or tool ; 

No footsteps marked the green and mossy graveL 
Each walk as green as is the mantled pool 

For want of human travel. 

Over all there hung a shadow and a fear ; 

A sense of mystery the spirit daunted, 
And said as plain as whisper in the ear — 

The place is haunted. 

The fountain was a- dry ; neglect and time 
Had marred the work of artisan and mason, 

And efts and croaking frogs begot of slime 
Sprawled in the ruined basin. 

On every side the aspect was the same, 
All ruined, desolate, forlorn and savage ; 

No hand or foot within the precinct came 
To rectify the ravage. 

Vox over all there hung a shadow and a fear ; 

A sense of mystery the spirit daunted, 
And said as plain as whisper in the ear — 

The place is haunted. 

Howbeit, the door I pushed — or so I dreamed — 
Which slowly, slowly gaped ; the hinges creaking 

With such a rusty eloquence, it seemed 
That Time himself was speaking. 

The startled bats flew out ; bird after bird ; 

The screech-owl overhead began to flutter, 
And seemed to mock the cry that she had heard 
Some dying victim utter ! 



SELE C TIONS FOR PR, \CTIi '£ 4 3 

The very stairs and pictures on the wall, 

Assuming features horrid and terrific, 
Hinted some tragedy in that old hall, 

Locked up in hieroglyphic. 

For over all there hung a shadow and a fear ; 

A sense of mystery the spirit daunted,, 
And said as plain as whisper in the ear — 

The place is haunted. 

Huge drops rolled down the walls as if they wept,- 

And where the cricket used to chirp so shrilly 
The toad was squatting and the lizard crept 

On that damp hearth so chilly. 

There was so foul a rumor in the air, 

The shadow of a presence so atrocious, 
No human creature could have feasted there, 

Even the most ferocious. 

For over all there hung a shadow and a fear ; 

A sense of mystery the spirit daunted, 
And said as plain as whisper in the ear — 

The place is haunted. 

The death-watch ticked behind the paneled oak. 

Inexplicable tremors shook the arras, 
And echoes strange and mystical awoke 

The fancy to embarrass. 

Prophetic hints that filled the soul with dread., 

But through one gloomy entrance mostly, 
The while some secret inspiration said — 

That chamber is the ghostly 1 

One lonely ray that glanced upon the bed 

As if with awful aim, direct and certain, 
To show the Bloody Hand in burning red, 

Embroidered on the curtain ] 

What shrieking spirit in that bloody room 

Its mortal frame had violently quitted ! 
Across the sunbeam with a sudden gloom 

A ghostly shadow flitted. 

O'er all there hung a shadow and a fear.; 

A sense of mystery the spirit daunted, 
.And said as plain as whisper in the ear — 

The place is haunted J liooa 



44 SELECTIONS FOR PRACTICE. 



MRS. CAUDLE URGING THE NEED OF SPRING CLOTHING. 

( Falsetto Quality.) 

If there 's anything in the world I hale — and you know it — it is asking you for 
money. I am sure, for myself, I 'd rather go without a thing a thousand times — 
and I do, the more shame for you to let me ! 

" What do I want now ? " As if you did n't know ! I 'm sure, if I 'd any money 
of my own, I 'd never ask you for a farthing — never ! It 's painful to me, gracious 
knows ! 

What do you say ? '* If it 's painful, why so often do it ? " I suppose you call 
that a joke — one of your club-jokes. As I say, I only wish I 'd any money of my 
own. If there is anything that humbles a poor woman it is coming to a man's 
pocket for every farthing. It 's dreadful ! 

Now, Caudle, you hear me, for it is n't often I speak. Pray, do you know what 
month it is ! And did you see how the children looked at church to-day ? — like 
nobody else's children ! 

"What was the matter with them ? " Oh, Caudle 1 how can you ask ? Weren't 
they all in their thick merinoes and beaver bonnets ? 

What do you say ? "What of it?" What ! You'll tell me that you didn't see 
how the Briggs girls in their new chips turned their noses up at 'em? And you 
didn't see how the Browns looked at the Smiths, and then at our poor girls, as much 
as to say, " Poor creatures ! what figures for the first of May ! " 

" You didn't see it" ? The more shame for you ! I'm sure those Briggs girls — 
the little minxes! — put me into such a pucker, I could have pulled their ears for 
'em over the pew. 

What do you say ? "I ought to be ashamed to own it" ? Now, Caudle, it's no 
use talking ; those children shall not cross over the threshold next Sunday, if they 
haven't things for the summer. Now mind — they sha'n't ; and there's an end of it I 

"I'm always wanting money for clothes" ? How can you say that? I'm sure 
there are no children in the world that cost their father so little ; but that's it — the 
less a poor woman does upon, the less she may. 

Now, Caudle, dear ! What a man you are ! I know you will give me the money, 
because, after all, I think you love your children, and like to see 'em well-dressed. 
It's only natural that a father should. 

"How much money do I want?" Let me see, love. There's Caroline, and 
Jane, and Susan, and Mary Anne, and — 

What do you say ? "I needn't count 'em? You know how many there are ! " 
That's just the way you take me up ! 

Well, how much money will it take? Let me see — I'll tell you in a minute. 
You always love to see the dear things look like new pins. I know that, Caudle ; 
and though I say it — bless their little hearts ! — they do credit to you, Caudle. 

"How much?" Now don't be in a hurry ! Well, I think, with good pinching 
-and you know, Caudle, there's never a wife who can pinch closer than I ca 
think, with pinching, I can do with twenty pouuds. 

What did you say ? " Twenty fiddle-sticks " ? 

What! "You won't give half the money!" Very well, Mr. Caudle; I don't 
care. Let the children go in rags ; let them stop from church, and grow up like 
heathens and cannibals ; and then you'll save your money, and, I suppose, be satisfied. 



SELECTIONS FOR PRACTICE. 45 



"Ten pounds enough"? Yes, just like you men; you 
think things cost nothing for women ; but you don't care how much you I 
upon yourselves. 

"The)- only want frocks and bonnets" ? How do you know what they want ? 
How should a man know anything at all about it? And you won't give more than 
ten pounds ? Very well. Then you may go shopping w ith it yourself, and see what 
you'll make of it! I'll have none of your ten pounds, I can tell you no, sir ! 
D. IV. Jerrold. 



THE OLD YEAR AND THE NEW. 

( High Pitch.) 
Ring out, wild bells, to the wild sky, 

The flying cloud, the frosty light, 

The year is dying in the night ; 
Ring out, wild bells, and let him die. 

Ring out the old, ring in the new, 

Ring, happy bells, across the snow : 

The year is going, let him go ; 
Ring out the false, ring in the true. 

Ring out the grief that saps the mind 

For those that here we see no more ; 

Ring out the feud of rich and poor, 
Ring in redress to all mankind. 

Ring out a slowly dying cause, 

And ancient forms of party strife ; 

Ring in the nobler modes of life, 
And sweeter manners, purer laws. 

Ring out false pride in place and blood, 

The civic slander and the spite ; 

Ring in the love of truth and right, 
Ring in the common love of good. 

Ring in the valiant and the free, 

The larger heart, the kindlier hand ; 

Ring out the darkness of the land ; 
Ring in the Christ that is to be. —Tennyson. 



ON MODULATION. 
{Middle Pilch.' 
'T is not enough the voice be sound and clear, 
'T is modulation that must charm the ear. 

desperate heroes grieve with tedious moan, 
And whine their sorrows in a see-saw tone, 
The same soft sounds of uriimpassion'd woes 



4<> SELECTIONS FOR PRACTICE. 



Can only make the yawning hearers doze. 
The voice all modes of passion can express, 
That marks the proper word with proper stress : 
But none emphatic can that speaker call 
Who lays an equal emphasis on all. 

Some o'er the tongue the labor' d measure roll, 
Slow and deliberate as the parting toll ; 
Point every stop, mark every pause so strong, 
Their words like stage processions stalk along. 

All affectation but creates disgust ; 
And e'en in speaking we may seem too just. 
In vain for them the pleasing measure flows, 
Whose recitation runs it all to prose ; 
Repeating what the poet sets not down, 
The verb disjointing from its favorite noun, 
While pause, and break, and repetition join 
To make a discord in each tuneful line. 

Some placid natures fill the allotted scene 
With lifeless drawls, insipid and serene ; 
While others thunder every couplet o'er, 
And almost crack your ears with rant and roar ; 
More nature oft, and finer strokes are shown 
In the low whisper, than tempestuous tone ; 
And Hamlet's hollow voice and fixed amaze, 
More powerful terror to the mind conveys 
Than he who, swollen with impetuous rage, 
Bullies the bulky phantom of the stage. 

He who, in earnest, studies o'er his part, 

Will find true nature cling about his heart. 

The modes of grief are not included all 

In the white handkerchief and mournful drawl : 

A single look more marks the internal woe, 

Than all the windings of the lengthen' d Oh ! 

Up to the face the quick sensation flies, 

And darts its meaning from the speaking eyes : 

Love, transport, madness, anger, scorn, despair ; 

Ann all the passions, all the soul is there. Lloyd. 



WE WATCHED HER BREATHING. 

(Low Pitch.) 
We watched her breathing through the night, 

Her breathing soft and low, 
As in her breast the wave of life 

Kept heaving to and fro. 



SELECTIONS FOR PRACTICh. 4/ 



So silently we seemed to speak, 

So slowly moved about, 
As we had lent her half our powers 

To eke her living out. 

Our very hopes belied our fears, 

Our fears our hopes belied — 
We thought her dying when she slept, 

And sleeping when she died. 

For when the morn came dim and sad, 

And chill with early showers, 
Her quiet eyelids closed — she had 

She had another morn than ours. Thomas Hood. 



SPEECH ON THE TRIAL OF A MURDERER. 

{Strong Force.) 

Against the prisoner at the bar, as an individual, I can not have the slighte-i 
prejudice. I would not do him the smallest injury or injustice. But I do not affect 
to be indifferent to the discovery and the punishment of this deep guilt. I cheer- 
fully share, in the oprobrium, how much soever it may be, which is cast on those 
who feel and manifest an anxious concern, that all who had a part in planning, or a 
hand in executing this deed of midnight assassination, may be brought to answer 
fur their enormous crime at the bar of public justice. 

This is a most extraordinary case. In some respects it has hardly a precedent 
anywhere ; certainly none in our New England history. This bloody drama ex- 
hibited no suddenly excited, ungovernable rage. The actors in it were not surprised 
by any lion-like temptation upon their virtue, overcoming it before resistance could 
begin. Nor did they do the deed to glut savage vengeance, or satiate long-settled 
and deadly hate. It was a cool, calculating, money-making murder. It was all 
•' hire and salary, and not revenge." It was the weighing of money against life : 
the counting out of so many pieces of silver against so many ounces of blood. 

An aged man, without an enemy in the world, in his own house, and in his own 
bed, is made the victim of butcherly murder for mere pay. Truly, here is a new 
lesson for painters and poets. Whoever shall hereafter draw the portrait of murder, 
if he shall show it as it has been exhibited in an example where such example was 
least to have been looked for, in the very bosom of our New England society, lei 
him not give it the grim visage of Moloch, the brow knitted by revenge, the face 
black with settled hate, and the blood-shot eye emitting livid fires of malice ; let 
him draw, rather, a decorous, smooth-faced, bloodless demon ; a picture in repose, 
rather than in action ; not so much an example of human nature in its depravity 
and in its paroxysm of crime, as an infernal nature, a fiend in the ordinary display 
and development of his character. 

The deed was executed with a degree of self-possession and steadiness, equal to 
the wickedness with which it was planned. The circumstances now clearly in evi- 
dence, spread out the whole scene before us. Deep sleep had fallen on the destined 
\ ictim, and on ad beneath his roof. A healthful old man, to whom sleep was sweet ; 
the first sound slumbers of the night held him in their soft but strong embrace. The 



48 SELECTIONS FOR PRACTICE. 



assassin enters through the window, already prepared, into an unoccupied apartment. 
With noiseless foot he paces the lonely hall, half lighted by the moon ; he winds up 
;nt of the stairs, and reaches the door of the chamber. Of this, he moves the 
lock, by soft and continued pressure, till it turns on its hinges; and he enters, and 
beholds his victim before him. The room was uncommonly open to the admission 
of light. The face of the innocent sleeper was turned from the murderer, and the 
beams of the moon, resting on the gray locks of his aged temple, showed him where 
to strike. The fatal blow is given ! and the victim passes without a struggle or a 
motion, from the repose of sleep to the repose of death ! 

It is the assassin's purpose to make sure work ; and he yet plies the dagger, though 
it was obvious -that life had been destroyed by the blow of the bludgeon. He even 
raises the aged arm, that he may not fail in his aim at the heart; and replaces it 
again over the wound of the poniard ! To finish the picture, he explores the wrist 
for the pulse ! He feels it, and ascertains that it beats no longer ! It is accomplished. 
The deed is done. He retreats, retraces his steps to the window, passes out through 
it as he came in, and escapes. He has done the murder ; no eye has seen him, no 
ear has heard him. The secret is his own, and it is safe ! 

Ah ! gentlemen, that was a dreadful mistake. Such a secret can be safe nowhere. 
The whole creation of God has neither nook nor corner where the guilty can bestow 
it and say it is safe. Not to speak of that eye which glances through all disguises, 
and beholds everything as in the splendor of noon ; such secrets of guilt are never 
safe from detection, even by men. True it is, generally speaking, that "murder 
will out." True it is, that Providence hath so ordained, and doth so govern things, 
that those who break the great law of heaven, by shedding men's blood, seldom 
succeed in avoiding discovery. Especially, in a case exciting so much attention as 
this, discovery must come, and will come, sooner or later. A thousand eyes turn at 
once to explore every man, every thing, every circumstance connected with the time 
and place ; a thousand ears catch every whisper ; a thousand excited minds intensely 
dwell on the scene, shedding all their light, and ready to kindle, at the slightest cir- 
cumstance, into a blaze of discovery. 

Meantime, the guilty soul can not keep its own secret. It is false to itself, or rather 
it feels an irrisistible impulse to be true to itself. It labors under its guilty posses- 
sion, and knows not what to do with it. The human heart was not made for the 
residence of such an inhabitant. It finds itself preyed on by a torment, which it 
does not acknowledge to God nor man. A vulture is devouring it, and it can ask 
no sympathy nor assistance, either from heaven or earth. The secret which the 
murderer possesses, soon comes to possess him ; and like the evil spirits of which 
we read, it overcomes him, and leads him whithersoever it will. He feels it beating 
at his heart, rising to his throat, and demanding disclosure. He thinks the whole 
world sees it in his face, reads it in his eyes, and almost hears its workings in the 
very silence of his thoughts. It has become his master. It betrays his discretion, 
it breaks down his courage, it conquers his prudence. When suspicions from with- 
out begin to embarrass him, and the net of circumstances to entangle him, the fatal 
secret struggles with still greater violence to burst forth. It must be confessed, will 
be confessed ; there is no refuge from confession but suicide, and suicide is confes 
sion. — Daniel Webs ten-. 



SELECTIONS EOR PRACTICE. 4 { J 



THE CYNIC. 
(Moderate Force.) 

The Cynic is one 'who never sees a good quality in a man, and never fails to see 
a bad one. He is the human owl, vigilant in darkness and blind to light, mousing 
for vermine, and never seeing noble game. 

The Cynic puts all human actions into only two classes — openly bad and secretly 
bad. All virtue, and generosity, and disinterestedness, are merely the appearance 
of good, but selfish at the bottom. He holds that no man does a good thing except 
for profit. The effect of his conversation upon your feelings is to chill and sear 
them ; to send you away sour and morose. 

His criticisms and inuendoes fall indiscriminately upon every lovely thing, like 
frost upon the flowers. If Mr. A. is pronounced a religious man, he will reply: yes. 
on Sundays. Mr. B. has just joined the church: certainly; the elections are com- 
ing on. The minister of the gospel is called an example of diligence : it 
trade. Such a man is generous : of other men's money. This man is obliging : to 
lull suspicion and cheat you. That man is upright : because he is green. 

Thus his eye strains out every good quality, and takes in only the bad. To him 
religion is hypocrisy, honesty a preparation for fraud, virtue only a want of oppor- 
tunity, and undeniable purity, asceticism. The livelong day he will cooly sit with 
sneering lip, transfixing every character that is presented. 

It is impossible to indulge in such habitual severity of opinion upon our fellow 
men without injuring the tenderness and delicacy of our own feelings. A man will 
be what his most cherished feelings are. If he encourage a noble generosity, every 
feeling will be enriched by it ; if he nurse bitter and envenomed thoughts, his own 
spirit will absorb the poison, and he will crawl among men as a burnished adder, 
whose life is mischief, and whose errand is death. 

He who hunts for flowers will find flowers : and he who loves weeds may find 
weeds. 

Let it be remembered that no man, who is not himself morally diseased, will have 
a relish for disease in others. Reject then the morbid ambition of the Cynic, or 
cease to call yourself a man. — H. W. Beecher. 

THE BRIDGE OF SIGHS. 

(Subdued Force.) 

One more unfortunate, Touch her not scornfully ; 

Weary of breath, Think of her mournfully, 

Rashly importunate, Gently and humanly ; 

Gone to her death ! Not of the stains of her, 

Take her up tenderly, All that remains of her 

Lift her with care ; Now is pure womanly. 

Fashioned so slenderly, 

Young and so fair ! Make no dee P sc ™ tin X 

Into her mutiny 

Look at her garments Rash and undutiful ; 

Clinging like cerements : Past all dishonor, 

While the wave constantly Death has left on her 



Drips from her clothing ; 
Take her up instantly, 
Loving, not loathing. 



Only the beautiful. 
Still, for all slips of hers 
One of Eve's family — 



50 



SELECTIONS FOR PRACTICE, 



Wipe those poor lips of hers 
Oozing so clamily. 

Loop'up her tresses 

Escaped from the comb — 
Her fair auburn tresses ; 
While wonderment guesses 

Where was her home ? 

Who was her father ? 

Who was her mother ? 
Had she a sister ? 

Had she a brother ? 
Or was there a dearer one 
Still, and a nearer one 

Yet, than all other ? 

Alas for the rarity 
Of Christian charity 

Under the sun ! 
O, it was pitiful ! 
Near a whole city full, 

Home she had none. 

Where the lamps quiver 
So far in the river, 

With many a light 
From window and casement, 
From garret to basement, 
She stood, with amazement, 

Houseless by night. 

The bleak wind of March 

Made her tremble and shiver 
But not the dark arch, 

Or the black flowing river : 
Mad from life's history, 
Glad to death's mystery, 

Swift to be hurled, 
Anywhere, anywhere 

Out of the world ! 



In she plunged boldly — 
No matter how coldly 

The rough river ran — 
Over the brink of it ! 
Picture it — think of it ! 

Dissolute man ! 
Lave in it, drink of it, 

Then, if you can ! 

Take her up tenderly, 

Lift her with care ; 
Fashioned so slenderly, 

Young and so fair ! 

Ere her limbs, frigidly, 
Stiffen too rigidly, 

Decently, kindly, 
Smooth and compose them ; 
And her eyes, close them, 

Staring so blindly ! 
Dreadfully staring 

Through muddy impurity, 
As if with the daring 
Last look of despairing 

Fixed on futurity. 

Perishing gloomily, 
Spurred by contumely, 
Cold inhumanity, 
Burning insanity, 

Into her rest ! 
Cross her hands humbly, 
As if praying, dumbly, 

Over her breast ! 
Owning her weakness, 

Her evil behavior, 
And leaving, with meekness, 

Her sins to her Savior ! 

—Hood. 



SELECTIONS FOR PRACTICE. 51 



SONG OF MOSES. 
( Initial Stress.) 
Then sang Moses and the children of Israel this song unto the Lord, and spake, 
.-saying, I will sing unto the Lord, for he hath triumphed gloriously : the horse and 
his rider he hath thrown into the sea. The Lord is my strength and song, and he 
U become my salvation : he is my God, and I will prepare him an habitation ; my 
father's God, and I will exhalt him. The Lord is a man of war : the Lord is his 
name. Pharaoh's chariots and his host hath he cast into the sea : his chosen captains 
also are drowned in the Red Sea. The depths have covered them : they sank into 
the bottom as a stone. Thy right hand, O Lord, is become glorious in power ; thy 
right hand, O Lord, hath dashed in pieces the enemy, and in the greatness of thine 
excellency thou hath overthrown them that rose up against thee : thou sentest forth 
thy wrath, which consumed them as stubble. And with the blast of thy nostrils the 
waters were gathered together : the floods stood upright as an heap, and the depths 
were congealed in the heart of the sea. The enemy said, I will pursue, I will over- 
take, I will divide the spoil ; my lust shall be satisfied upon them ; I will draw my 
sword, my hand shall destroy them. Thou didst blow with thy wind, the sea covered 
them : they sank as lead in the mighty waters. Who is like unto thee, O Lord, 
among the gods ? who is like thee, glorious in holiness, fearful in praises, doing 
wonders ? Thou stretchedst out thy right hand, the earth swallowed them. Thou 
in thy mercy hast led forth the people which thou hast redeemed : thou hast guided 
them in thy strength unto thy holy habitation. The people shall hear, and be afraid : 
sorrow shall take hold on the inhabitants of Palestina. Then the dukes of Edom 
shall be amazed ; the mighty men of Moab, trembling shall take hold upon them : 
all the inhabitants of Canaan shall melt away. Fear and dread shall fall upon them i 
by the greatness of thine arm they shall be as still as a stone ; till thy people pass 
over, O Lord, till the people pass over, which thou hast purchased. Thou shalt 
bring them in, and plant them in the mountain of thine inheritance, in the place, O 
Lord, which thou hast made for thee to dwell in ; in the sanctuary, O Lord, which 
thy hands have established. The Lord shall reign for ever and ever. For the horse 
of Pharaoh went in with his chariots and his horsemen into the sea, and the Lord 
brought again the waters of the sea upon them : but the children of Tsrael went on 
dry land in the midst of the sea. — Bible. 



MOUNTAINS. 
(Final Stress.) 

Mountains ! who was your Builder ? Who laid your awful foundations in the 
central fires, and piled your rocks and snow-capped summits among the clouds ? 
Who placed you in the gardens of the world, like noble altars, on which to offer the 
sacrificial gifts of many nations ? Who reared your rocky walls in the barren desert, 
like towering pyramids, like monumental mounds, like giants' graves, like dismantled 
piles of royal ruins, telling a mournful tale of glory, once bright, but now fled for- 
ever, as flee the dreams of a midsummer's night ? Who gave you a home in the 
islands of the sea — those emeralds that gleam among the waves — those stars of 
ocean that mock the beauty of the stars of night ? 

Mountains ! I know who built you. It was God ! His name is written on your 
foreheads. He laid your corner-stones on that glorious morning when the orchestra 



52 



SELE CTIONS FOR PR A C 7 7( E. 



of Heaven sounded the anthem of creation. He clothed your high, imperial forms 
in royal robes. lie gave you a snowy garment, and wove for you a cloudy veil of 
crimson and gold. He crowned you with a diadem of icy jewels ; pearls from the 
arctic seas ; gems from the frosty pole. Mountains ! ye are glorious. Ye stretch 
your granite aims away toward the vales of the undiscovered : ye have a longing 
for immortality. 

But, Mountains ! ye long in vain. I called you glorious, and truly ye are ; but 
your glory is like that of the starry heavens — it shall pass away at the trumpet-blast 
of the angel of the Most High. And yet ye are worthy of a high and eloquent 
eulogium. Ye were the lovers of the daughters of the gods ; ye are the lovers of 
the daughters of Liberty and Religion now; and in your old and feeble age the 
children of the skies shall honor your bald heads. The clouds of heaven — those 
shadows of Olympian power, those spectral phantoms of dead Titans — kiss your 
summits, as guardian angels kiss the brow of infant nobleness. On your sacred 
rocks I see the footprints of the Creator ; I see the blazing fires of Sinai, and hear 
its awful voice . I see the tears of Calvary, and listen to its mighty groans. 

Mountains ! ye are proud and haughty things. Ye hurl defiance at the storm, 
the lightning, and the wind ; ye look down with deep disdain upon the thunder- 
cloud ; ye scorn the devastating tempest ; ye despise the works of puny man ; ye 
shake your rock-ribbed sides with giant laughter when the great earthquake passes 
by. Ye stand as giant sentinels, and seem to say to the boisterous billows, " Thus 
far shalt thou come, and here shall thy proud waves be stayed ! " 

Mountains ! ye are growing old. Your ribs of granite are getting weak and rot- 
ten : your muscles are losing their fatness ; your hoarse voices are heard only at 
distant intervals ; your volcanic heart throbs feebly ; and your lava-blood is thick- 
ening, as the winters of many ages gather their chilling snows around your vener- 
able forms. The brazen sunlight laughs in your old and wrinkled faces ; the pitying 
moonlight nestles in your hoary locks ; and the silvery starlight rests upon you like 
the halo of inspiration that crowned the heads ot dying patriarchs and prophets. 
Mountains ! ye must die. Old Father Time, that sexton of earth, has dug you a 
deep, dark tomb ; and in silence ye shall sleep after sea and shore shall have been 
pressed by the feet of the apocalyptic angel, through the long watches of an eternal 
night. E. J/. Morse 






With deep affection, 
And recollection, 
I often think of 

Those Shandon bells 
Whose sounds so wild 
In day.- of childhood, 
Fling round my cradle 

Their magic spells. 



n IK BELLS OF SHANDON. 

(Sustained Stress.) 

On this I ponder 
Were'er I wander, 
And thus grow fonder, 

Sweet Cork, of thee, 
With thy bells of Shandon. 
That sound so grand on 
The pleasant waters 

Of the river Lee. 



SELECTIONS FOR PRACTICE. 






1 've heard bells chiming 

Full many a clime in, 
Tolling sublime in 

Cathedral shrine, 
While at a glib rate, 
Brass tongues would vibrate 
But all their music 

Spoke not like thine. 

For memory, dwelling 
On each proud swelling 
< >f thy belfry, knelling 

[ts bold notes free, 
Made the bells of Shandon 
Sound far more grand on 
The pleasant waters 

Of the river Lee. 

I 've heard bells tolling 
Old Adrian's Mole in, 
Their thunder rolling 

From the Vatican 
And cymballs glorious, 
Swinging uproarious, 
In the gorgeous turrets 

Of Notre Dame ; 



But thy sounds were sweeter 
Than the dome of Peter 
flings o'er the Tiber, 

So solemnly. 
Oh ! the bells of Shandon 
Sound far more grand on 
The pleasant waters 

Of the river Lee. 

There 's a bell in Moscow ; 
While on tower and kiosk, oh, 
Or in Saint Sophia 

The Turkman gets, 
And, loud in air, 
Calls men to prayer, 
From the tapering summit 

Of tall minarets. 

Such empty phantom 
I freely grant them ; 
But there 's an anthem 

More dear to me — 
'T is the bells of Shandon, 
That sound so grand on 
The pleasant waters 

Of the river Lee. — Mahony 



CATILINE'S DEFIANCE. 

[Compound Stress.] 
Banished from Rome! What 's banished, but set free 
From daily contact of the things I loathe ? 
"Tried and convicted traitor ! " — W T ho says this ? 
Who '11 prove it, at his peril, on my head? 
Banished ? — I thank you for 't. It breaks my chain ! 
I held some slack allegiance till this hour ; 
But now my sword 's my own. 

Smile on, my lords. 

I scorn to count what feelings, withered hopes, 

Strong provocations, bitter, burning wrongs, 

I have within my heart's hot cells shut up, 

To leave you in your lazy dignities. 

But here I stand and scoff you : — here I fling 

Hatred and full defiance in your face. 

Your consul 's merciful. For all this thanks. 

He dares not touch a hair of Catiline. 



54 SELECTIONS FOR PRACTICE. 



"Traitor!" I go — but I return. This .... trial! — 

Here I devote your senate ! I 've had wrongs, 

To stir a fever in the blood of age, 

Or make the infant sinew strong as steel. 

This day 's the birth of sorrows ! — This hour's work 

Will breed proscriptions. 

Look to your hearths, my lords ; 
For there henceforth shall sit, for household gods. 
Shapes hot from Tartarus ! — all shames and crimes ; 
Wan Treachery, with his thirsty dagger drawn ; 
Suspicion, poisoning his brother's cup ; 
Naked Rebellion, with the torch and ax, 
Making his wild sport of your blazing thrones ; 
Till Anarchy comes down on you like night, 
And Massacre seals Rome's eternal grave. 

I go — but not to leap the gulf alone. 

I go — but when I come, 't will be the burst 

Of ocean in the earthquake, — rolling back 

In swift and mountainous ruin. Fare you well ! 

You build my funeral pile ; but your best blood 

Shall quench its flame. Back, slaves ! 

I will return. George Croly. 



THE BURIAL OF MOSES. 
( Swell Stress.) 
By Nebo's lonely mountain, 

On this side Jordan's wave, 
In a vale in the land of Moab, 

There lies a lonely grave ; 
But no man dug that sepulchre, 

And no man saw it e'er, 
For the angels of God upturned the sod, 

And laid the dead man there. 

That was the grandest funeral 

That ever passed on earth ; 
But no man heard the tramping, 

Or saw the train go forth ; 
Noiselessly as the daylight 

Comes when the night is done, 
And the crimson streak on ocean's cheek 

Grows into the great sun 

Noiselessly as the spring-time 

Her crown of verdure weaves, 
And all the trees on all the hills 



SELECTIONS FOR PRACTICE. 55 

Open their thousand leaves — 
So, without sound of music, 

Or voice of them that wept, 
Silently down from the mountain crown 

The great procession swept. 

Lo ! when the warrior dieth, 

His comrades in the war, 
With arms reversed, and muffled drum, 

Follow the funeral car. 
They show the banners taken, 

They tell his battles won, 
And after him lead his masterless steed, 

While peals the minute gun. 

Amid the noblest of the land 

Men lay the sage to rest, 
And give the bard an honored place, 

With costly marble dressed, 
In the great minster transept, 

Where lights like glories fall, 
And the choir sings, and the organ rings 

Along the emblazoned wall. 

This was the bravest warrior 

That ever buckled sword ; 
This the most gifted poet 

That ever breathed a word ; 
And never earth's philosopher 

Traced, with his golden pen, 
On the deathless page, truths half so sage, 

As he wrote down for men. 

And had he not high honor ? 

The hill- side for his pall ; 
To lie in state while angels wait, 

With stars for tapers tall ; 
And the dark rock pines, like tossing plumes, 

Over his bier to wave ; 
And God's own hand, in that lonely land, 

To lay him in the grave — 

In that deep grave, without a name, 

Whence his uncoffined clay 
Shall break again — O wondrous thought ! — 

Before the judgment day ; 
And stand, with glory wrapped around, 

On hills he never trod, 
And speak of the strife that won our life, , 

With th' incarnate Son of God. 



;6 SELECTIONS FOR PRACTICE, 



O lonely tomb in Moab's land ! 

O dark Beth-peor's hill ! 
Speak to these curious hearts of ours, 

And teach them to be still. 
God hath his mysteries of grace — 

Ways that we can not tell ; 
He hides them deep, like the secret sleep, 

Of him he loved so well. — C. E. Alexander 



BINGEN ON THE RHINE. 
(Tremulous Stress.) 

A soldier of the Legion lay dying in Algiers, 

There was lack of woman's nursing, there was dearth of woman's tears 

But a comrade stood beside him, while his life-blood ebbed away, 

And bent, with pitying glances, to hear what he might say. 

The dying soldier faltered, as he took that comrade's hand, 

And he said: "I never more shall see my own, my native land; 

Take a message and a token, to some distant friends of mine, 

For I was born at Bingen, — at Bingen on the Rhine. 

"Tell my brothers and companions, when they meet and crowd around, 
To hear my mournful story, in the pleasant vineyard ground, 
That we fought the battle bravely, — and when the day was done, 
Full many a corse lay ghastly pale, beneath the setting sun, 
And 'mid the dead and dying, were some grown old in wars, 
The death-wound on their gallant breasts, the last of many scars; 
But some were young, — and suddenly beheld life's morn decline, — 
And one had eome from Bingen, — fair Bingen on the Rhine ! 

" Tell my mother that her other sons shall comfort her old age, 

For I was aye a truant bird, that thought his home a cage : 

For my father was a soldier, and, even as a child, 

My heart leaped forth to hear him tell of struggles fierce and wild ; 

And when he died, and left us to divide his scanty horde, 

I let them take what'ere they would — but kept my father's sword ; 

And with boyish love I hung it where the bright light used to shine, 

On the cottage wall at Bingen, — calm Bingen on the Rhine ! 

"Tell my sister not to weep for me, and sob with drooping head, 
When the troops are marching home again with glad and gallant tread ; 
But to look upon them proudly, with a calm and steadfast eye, 
For her brother was a soldier, too, and not afraid to die. 
And, if a comrade seek her love, I ask her in my name. 
To listen to him kindly, without regret or shame ; 

And to hang the old sword in its place, (my father's sword and mine). 
honor of old Bingen — dear Bingen on the Rhine 1 



SELECTIONS FOR PRACTICE. 57 



"There 's another — not a sister; — in the happy clays gone by, 
You 'd have known her by the merriment that sparkled in her eye ; 
Too innocent for coquetry — too fond for idle scorning ; — 

friend, I fear the lightest heart makes sometimes heaviest mourning ! 
Tell her the last night of my life — ( for ere this moon be risen 

My body will be out of pain — my soul be out of prison ), 

1 dreamed I stood with ker, and saw the yellow sunlight shine 
On the vine-clad hills of Bingen — fair Bingen on the Rhine ! 

"I saw the blue Rhine sweep along — I heard, or seemed to hear, 

The German songs we used to sing, in chorus, sweet and clear ; 

And down the pleasant river, and up the slanting hill, 

That echoing chorus sounded, through the evening calm and still ; 

And her glad blue eyes were on me, as we passed with friendly talk, 

Down many a path beloved of yore, and well-remembered walk ; 

And her little hand lay lightly, confidingly in mine : 

But we '11 meet no more at Bingen — loved Bingen on the Rhine ! " 

His voice grew faint and hoarser — his grasp was childish weak — ■ 

His eyes put on a dying look — he sighed and ceased to speak : 

His comrade bent to lift him, but the spark of life had fled — 

The soldier of the Legion, in a foreign land — was dead ! 

And the soft moon rose up slowly, and calmly she looked down, 

On the red sand of the battle-field, with bloody corpses strown ; 

Yea, camly on that dreadful scene her pale light seemed to shine, 

As it shone on distant Bingen — fair Bingen on the Rhine ! — Mrs. Norton. 



THE BURNING SHIP. 
(Rapid Rate.) 
The storm o'er the ocean flew furious and fast, 
And the waves rose in foam at the voice of the blast, 
And heavily labored the gale-beaten ship, 
Like a stout-hearted swimmer, the spray at his lip ; 
And dark was the sky o'er the mariner's path, 
Save when the wild lightning illumined in wrath. 
A young mother knelt in the cabin below, 
And pressing her babe to her bosom of snow, 
She prayed to her God, 'mid the hurricane wild, 
"O Father, have mercy, look down on my child ! " 

It passed — the fierce whirlwind careered on its way, 

And the ship like an arrow divided the spray ; 

Her sails glimmered white in the beams of the moon, 

And the wind up aloft seemed to whistle a tune — to whistle a tune. 

There was joy in the ship as she furrowed the foam, 
For fond hearts within her were dreaming of home. 
The young mother pressed her fond babe to her breast, 
And the husband sat cheerily down by her side, 



58 SELECTIONS FOR PRACTICE. 



And looked with delight on the face of his bride. 

"Oh, happy," said he, "when our roaming is o'er, 

We '11 dwell in our cottage that stands by the shore. 

Already in fancy its roof I descry, 

And the smoke of its hearth curling up to the sky ; 

Its garden so green, and its vine- covered wall ; 

The kind friends awaiting to welcome us all, 

And the children that sport by the old oaken tree." 

Ah, gently the ship glided over the sea ! 

Hark ! what was that ? Hark ! Hark to the shout ! 

"Fire ! " Then a tramp and a rout, and a tumult of voices uprose on 

the air — 
And the mother knelt down, and the half-spoken prayer, 
That she offered to God in her agony wild, 
Was, "Father, have mercy, look down on my child ! " 
She flew to her husband, she clung to his side, 
Oh there was her refuge what e'er might betide. 

" Fire ! " "Fire ! " It was raging above and below — 
And the cheeks of the sailors grew pale at the sight, 
And their eyes glistened wild in the glare of the light. 

'T was vain o'er the ravage the waters to drip ; 

The pitiless flame was the lord of the ship, 

And the smoke in thick wreaths mounted higher and higher. 

" O God, it is fearful to perish by fire." 

Alone with destruction, alone on the sea, 

" Great Father of mercy, our hope is in thee." 

Sad at heart and resigned, yet undaunted and brave, 

They lowered the boat, a mere speck on the wave. 

First entered the mother, enfolding her child : 

It knew she caressed it, looked upward and smiled. 

Cold, cold was the night as they drifted away, 

And mistily dawned o'er the pathway the day ; — 

And they prayed for the light, and at noontide about, 

The sun o'er the waters shone joyously out. 

" Ho ! a sail ! Ho ! a sail ! " cried the man at the lea, 
" Ho ! a sail ! " and they turned their glad eyes o'er the sea. 
"They see us, they see us, the signal i? waved ! 
They bear down upon us, they bear down upon us : 
Huzza! we are saved." 



BURIAL OF SIR JOHN MOORE. 

(Slow Rate.) 
Not a drum was heard, not a funeral note, 

As his corse to the rampart we hurried ; 
Not a soldier discharged his farewell shot 

O'er the grave where our hero was buried. 



SELECTIONS FOR PRACTICE. 59 

We buried him darkly, at dead of night, 

The sods with our bayonets turning ; 
By the struggling moonbeam's misty light, 

And the lanterns dimly burning. 

No useless coffin enclosed his breast, 

Not in sheet nor in shroud we wound him ; 
But he lay like a warrior taking his rest, 

With his martial cloak around him. 

Few and short were the prayers we said, 

And we spoke not a word of sorrow ; 
And steadfastly gazed on the face of the dead, 

And we bitterly thought of the morrow. 

We thought, as we hollow'd his narrow bed, 

And smooth' d down his lonely pillow, 
That the foe and the stranger would tread o'er his head, 

And we far away on the billow. 

Lightly they '11 talk of the spirit that 's gone, 

And o'er his cold ashes upbraid him, 
But little he '11 reck, if they let him sleep on 

In the grave where a Briton has laid him. 

But half of our heavy task was done, 

When the clock struck the hour for retiring ; 
And we heard the distant random gun 

Which the foe was sullenly firing. 

Slowly and sadly we laid him down, 

From the field of his fame fresh and gory ; 
We carv'd not a line, we rais'd not a stone, 

But left him alone in his glory. — Charles Wolf. 



THE RAVEN. 



Once upon a midnight dreary, while I ponder'd, weak and weary, 
Over many a quaint and curious volume of forgotten lore, 
While I nodded, nearly napping, suddenly there came a tapping, 
As of some one gently rapping, rapping at my chamber door. 
" 'Tis some visitor," I mutter'd, "tapping at my chamber door ; 
Only this and nothing more." 

Ah ! distinctly I remember, it was in the bleak December, 
And each separate dying ember wrought its ghost upon the floor ; 
Eagerly I wish'd the morrow : vainly I had tried to borrow, 
From my books, surcease of sorrow — sorrow for the lost Lenore, 
For the rare and radiant maiden whom the angels name Lenore, 
Nameless here for evermore. 



60 SELECTIONS FOR PRACTICE. 



And the silken, sad uncertain rustling of each purple curtain 
Thrill' d me, fill'd me with fantastic terrors, never felt before ; 
So that now, to still the beating of my heart, I stood repeating, 
"'Tis some visitor entreating entrance at my chamber door, 
Some late visitor entreating entrance at my chamber door ; 
This it is and nothing more." 

Presently my soul grew stronger, hesitating then no longer, 
"Sir," said I, "or Madam, truly your forgiveness I implore ; 
But the fact is, I was napping, and so gently you came rapping, 
And so faintly you came tapping, tapping at my chamber door, 
That I scarce was sure I heard you." Here I opened wide the door. 
Darkness there, and nothing more. 

Deep into that darkness peering, long I stood there, wondering, fearing, 
Doubting, dreaming dreams no mortal ever dared to dream before, 
But the silence was unbroken, and the darkness gave no token, 
And the only word there spoken, was the whispered word, " Lenore ! " 
Merely this, and nothing more. 

Then into the chamber turning, all my soul within me burning, 
Soon I heard again a tapping, somewhat louder than before ; 
" Surely," said I, " surely, that is something at my window lattice ; 
Let me see then, what thereat is, and this mystery explore, 
Let my heart be still a moment, and this mystery explore, 
'Tis the wind, and nothing more ! " 

Open here I flung the shutter, when, with many a flirt and nutter, 
In there stepp'd a stately raven of the saintly days of yore : 
Not the least obeisance made he ; not an instant stopp'd or stay'd he ; 
But with mien of lord or lady, perch'd above my chamber door, 
Perch' d upon a bust of Pallas, just above my chamber door, 
Perch'd, and sat, and nothing more. 

Then this ebony bird beguiling my sad fancy into smiling, 
By the grave and stern decorum of the countenance it wore ; 
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven, 
Ghastly, grim, and ancient raven, wandering from the nightly shore, 
Tell me what thy lorldy name is on the night's Plutonian shore ! " 
Quoth the raven, "Nevermore." 

Much I marvel' d this ungainly fowl to hear discourse so plainly, 
Though its answer little meaning, little revelency bore ; 
Lor we cannot help agreeing that no living human being 
Ever yet was bless' d with seeing bird above his chamber door, 
liird or beast upon the sculptur'd bust above his chamber door, 
With such name as "Nevermore." 

But the raven, sittting lonely on the placid bust, spake only 
That one word, as if his soul in that one word he did out-pour, 
Nothing further then he utter'd, not a feather then he flutter'd, 



SELECTIONS FOR PRACTICE. 6 1 



Till I scarcely more than mutter'd, "other friends have flown before, 
On the morrow he will leave me, as my hopes have flown before," 
Then the bird said, "Nevermore." 

Startled at the stillness broken by reply so aptly spoken, 
"Doubtless," said I, "what it utters is its only stock and store, 
Caught from some unhappy master, whom unmerciful disaster, 
Follow'd fast and follow'd faster, till his song one burden bore, 
Till the dirges of his hope the melancholy burden bore 
Of 'Nevermore,' of 'Nevermore.' " 

But the raven still beguiling all my sad soul into smiling, 
Straight I wheel'd a cushion'd seat in front of bird, and bust, and door ; 
Then upon the velvet sinking, I betook myself to linking 
Fancy unto fancy, thinking what this ominous bird of yore, 
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore 
Meant, in croaking "Nevermore." 

Thus I sat engaged in guessing, but no syllable expressing 
To the fowl whose fiery eyes now burn'd into my bosom's core. 
This and more I sat divining, with my head at ease reclining, 
On the cushion's velvet lining that the lamplight gloated o'er, 
But whose velvet violet lining, with the lamplight gloating o'er, 
She shall press, ah, Nevermore ! 

Then, methought, the air grew denser, perfumed from an unseen censer, 
Swung by angels, whose faint foot-falls tinkled on the tufted floor ; 
"Wretch," I cried, " thy God hath lent thee, by these angels he hath sent thee 
Respite — respite, and nepenthe from thy memories of Lenore ! 
Quaff, O, quaff this kind nepenthe, and forget this lost Lenore ! " 
Quoth the raven, "Nevermore." 

"Prophet," cried I, "thing of evil, prophet still, if bird or devil, 
Whether tempter sent, or whether tempest toss'd thee here ashore, 
Desolate, yet all undaunted, on this desert land enchanted, 
On this home by honor haunted — tell me truly, I implore, 
Is there, is there balm in Gilead, tell me, tell me, I implore," 
Quoth the raven, "Nevermore." 

" Prophet," said I, "thing of evil, prophet still, if bird or devil, 
By that heaven that bends above us, by that God we both adore, 
Tell this soul with sorrow laden, if within the distant Aiden, 
It shall clasp a sainted maiden, whom the angels name Lenore, 
Clasp a rare and radiant maiden, whom the angels name Lenore," 
Quoth the raven, "Nevermore." 

"Be that word our sign of parting, bird or fiend ! " I shriek' d upstarting ; 
" Get thee back into the tempest, and the night's Plutonian shore ; 
Leave no black plume as a token of that lie thy soul hath spoken ! 
Leave my loneliness unbroken ! quit the bust above my door ! 
Take thy beak from out my heart, and take thy form from off my door." 
Quoth the raven, "Nevermore." 



62 SELECTIONS FOR PRACTICE. 



And the raven, never flitting, still is sitting, still is sitting, 

On the pallid bust of Pallas, just above my chamber door ; 

And his eyes have all the seeming of a demon that is dreaming, 

And the lamp-light, o'er him streaming, throws his shadow on the floor ; 

And my soul from out that shadow, that lies floating on the floor, 

Shall be lifted, Nevermore ! — E. A. Foe. 



THE VAGABONDS. 
We are two travelers, Roger and I. 

Roger 's my dog : — come here, you scamp ! 
Jump for the gentlemen — mind your eye ! 

Over the table — look out for the lamp ! — ■ 
The rogue is growing a little old ; 

Five years we 've tramped through wind and weather, 
And slept out-doors when nights were cold, 

And ate and drank — and starved together. 

We 've learned what comfort is, I tell you ! 

A bed on the floor, a bit of rosin, 
A fire to thaw our thumbs ( poor fellow ! 

The paw he holds up there 's been frozen ), 
Plenty of cat-gut for my fiddle 

( This out-door business is bad for strings ), 
Then a few nice buckwheats hot from the griddle, 

And Roger and I set up for kings ! 

No, thank ye, sir — I never drink ; 

Roger and I are exceedingly moral — 
Are n't we, Roger? — see him wink ! — 

Well, something hot, then — we wont quarrel. 
He 's thirsty, too — see him nod his head ? 

What a pity, sir, that dogs can 't talk ! 
He understands every word that 's said — 

And he knows good milk from water- and-chalk. 

The truth is, sir, now I reflect, 

I 've been so sadly given to grog, 
I wonder I 've not lost the respect 

( Here 's to you, sir ! ) even of my dog. 
But he sticks by, through thick and thin ; 

And this old coat, with its empty pockets, 
And rags that smell of tobacco and gin, 

He '11 follow while he has eyes in his sockets. 

There is n't another creature living 

Would do it, and prove, through every disaster, 
So fond, so faithful, and so forgiving 

To such a miserable, thankless master ! 



SELECTIONS FOR PRACTICE. 63 



No, sir ! — see him wag his tail and grin ! 

By George ! it makes my old eyes water ! 
That is, there 's something in this gin 

That chokes a fellow. But no matter ! 

We '11 have some music, if you 're willing, 

And Roger ( hem ! what a plague a cough is, sir ! ) 
Shall march a little. — Start, you villain ! 

Stand straight ! 'Bout face ! Salute your officer ! 
Put up that paw ! Dress ! Take your rifle ! 

( Some dogs have arms, you see ! ) Now hold your 
Cap while the gentlemen give a trifle, 

To aid a poor old patriot soldier ! 

March ! Halt ! Now show how the rebel shakes 

When he stands up to hear his sentence. 
Now tell us how many drams it takes 

To honor a jolly new acquaintance. 
Five yelps — that 's five ; he 's mighty knowing ! 

The night 's before us, fill the glasses ! — 
Quick, sir ! I 'm ill — my brain is going ! — 

Some brandy — thank you — there ! — it passes ! 

Why not reform ? That 's easily said ; 

But I 've gone through such wretched treatment, 
Sometimes forgetting the taste of bread, 

And scarce remembering what meat meant, 
That my poor stomach 's past reform ; 

And there are times when, mad with thinking, 
I 'd sell out heaven for something warm 

To prop a horrible inward sinking. 

Is there a way to forget to think ? 

At your age, sir, home, fortune friends, 
A dear girl's love — but I took to drink ; — 

The same old story ; you know how it ends. 
If you could have seen these classic features — 

You need n't laugh sir ; they were not then 
Such a burning libel on God's creatures : 

I was one of your handsome men ! 

If you had seen her, so fair and young, 

Whose head was happy on this breast ! 
If you could have heard the songs I sung 

When the wine went round, you would n't have guessed 
That ever I, sir, should be straying 

From door to door, with fiddle and dog, 
Ragged and penniless, and playing 

To you to-night for a glass of grog ! 



64 SELECTIONS FOR PRACTICE. 



She 's married since — a parson's wife : 

'T was better for her that we should part — 
Better the soberest, prosiest life, 

Than a blasted home and a broken heart. 
I have seen her — once : I was weak and spent 

On the dusty road — a carriage stopped : 
But little she dreamed, as on she went, 

Who kissed the coin that her fingers dropped ! 

You 've set me talking, sir ; I 'm sorry ; 

It makes me wild to think of the change ! 
What do you care for a beggar's story ? 

Is it amusing ? you find it strange ? 
I had a mother so proud of me ! 

'T was well she died before . Do you know 

If the happy spirits in heaven can see 

The ruin and wretchedness here below ? 

Another glass, and strong, to deaden 

This pain ; then Roger and I will start. 
I wonder, has he such a lumpish, leaden, 

Aching thing, in place of a heart ? 
He is sad sometimes, and would weep, if he could, 

No doubt, remembering things that were — 
A virtuous kennel, with plenty of food, 

And himself a sober, respectable cur. 

I 'm better now ; that glass was warming. — 

You rascal ! limber your lazy feet ! 
We must be fiddling and performing 

For supper and bed, or starve in the street. — 
Not a very gay life to lead, you think ? 

But soon we shall go where lodgings are free, 
And the sleepers need neither victuals nor drink ; — 

The sooner, the better for Roger and me ! J. T. Trowbridge. 




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